Kastafsko kulturno leto 2008. by ART S d.o.o.

17. KASTAFSKO KULTURNO LETO

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KASTAV

SUMMER

CULTURE

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17. INTERNACIONALNI LJETNI FESTIVAL KULTURE 1 7 t h I N T E R N AT I O N A L S U M M E R F E S T I VA L O F C U LT U R E

22. 05. - 29. 08. 2008.

Izražavajuæi zahvalnost i poštovanje gostima i prijateljima, suradnicima i izvoðaèima / Expressing our gratitude and esteem to guests and friends, colleagues and artists

Dobrim i dragim ljudima koji su Grad pohodili, Koji su mudrost, znanje i prijateljstvo u Njega ugradili, Koji su se Njemu iznova s radošæu vraæali, Svima koji su ime Grada s ljubavlju u srcu po svijetu izgovarali! To all the good and dear people who have visited City, built into it their wisdom, knowledge and friendship, returned to it again and again with joy; To all who have lovingly uttered its name throughout the world!

Ines Greblo Izvršna direktorica Executive manager

program programme

Otvorenje / Opening ceremony

01.07. utorak / Tuesday Glazbeni program / music programme Koncert Radojke Šverko uz orkestar prof. Vladimira Babina / Concert by Radojka Šverko, accompanied by the orchestra conducted by Professor Vladimir Babin Gost / Guest: Ivo Gamulin Gianni

04. / 05.07. petak-subota / Friday-Saturday Dramski program / Drama programme R.Queneau: Stilske vježbe / Les Exercices de style / Style Exercises Glume / Actors: Pero Kvrgiæ & Lela Margitiæ

06.07. nedjelja / Sunday Glazbeni program / music programme Orkestar GD Spinèiæi & Maja Blagdan / Spinèiæi Music Society orchestra & Maja Blagdan

09. – 14.07. 12. Triglav internacionalni FESTIVAL GITARE 12th Triglav International GUITAR FESTIVAL 15.07. utorak / Tuesday Dramski program / Drama programme HNK „Ivan pl. Zajc“ Rijeka/ Croatian national theatre Ivan pl. Zajc, Rijeka D.Goggin: „NUNSENCE“, glazbena komedija / musical comedy

19.07. subota / Saturday Glazbeni program / Music programme Solistièki koncert: Massimo i orkestar / Solo concert: Massimo and orchestra 3

20.07. nedjelja / Sunday Dramski program / Drama programme Kastafski puèki teatar, premijera / Kastav public theatre, premier V.Aliloviæ: „Dobro nan prišli, prišliæi“, komedija / “Welcome...Newcomers”, comedy

30.07. srijeda / Wednesday Glazbeni program / music programme Ivana Marèelja & gosti / guests: Mirko Cetinski, Mario Batifiacca, Duško Jelièiæ Dule, Žvejarini

02.08. subota / Saturday Glazbeni program / music programme Klapa „ Kampanel“ & gosti / guests: Irena Grdiniæ, Lea Kumic & Saša Matovina

06.08. srijeda / Wednesday Glazbeno-scenski program / music comedy programme „Me & my cello“ show Rebbeca Carrington & Colin Griffiths-Brown,Velika Britanija / UK

09.08. subota / Saturday Glazbeni program / music programme „Èarolija harmonike“ / “Accordion Magic” Duo Balyk - Rusija / Russia; Gosti / Guests: Duo Veit – Francuska / France

17.08. nedjelja / Sunday 6. Vela umjetnièka radionica / 6th Art's workshop

29.08. petak / Friday 4. Festival Èakavske šansone „Èansonfest“ Kastav 4th Festival of Chakavian Chansons, Kastav

Svi programi zapoèinju u 21 sat All programmes start at 9 p.m.

RADOJKA ŠVERKO Roðena u Pazinu. Poèetke pjevaèke karijere bilježi kao èlanica i solistica djeèjih zborova. Puteve do festivala, znaèajnijih nastupa i televizije otvaraju prva natjecanja. Godine 1969. pobjeðuje na festivalu u Puerto de la Cruzu i zapoèinje svjetsku karijeru, suraðujuæi sa skladateljem Alfijem Kabiljom. Radojka Šverko nastupa i osvaja nagrade u: Rio de Janeiru, Tokiju, Los Angelesu, Madridu, Seulu, Ateni, Puerto Ricu, Scheweningenu, Caracasu, Curaçau, Bratislavi, Firenzi, Palma de Mallorci, Cavenu, itd. (pobjeðujuæi Davida Bowiea i Nathalie Cole; ugošæujuæi Julia Iglesiasa u svom showu na španjolskoj televiziji). Vraæa se u Hrvatsku. Pobjeðuje na brojnim festivalima, od Splitskog festivala 1970. sa skladbom “Kud plovi ovaj brod”, Zagrebfesta, na Melodijama Istre i Kvarnera, itd. Slijede angažmani u scensko-glazbenim djelima “Gubec beg”, “Grièka vještica”, “Karolina rijeèka”, “Jadnici” u kojima je igrala glavnu ulogu. U filmu “Bravo maestro” redatelja Rajka Grliæa angažirana je kao nositeljica vodeæe role. Posebnu vrijednost imaju i podaci o višegodišnjoj prisutnosti pojedinih skladbi na top-ljestvicama, kao i neizostavna priznanja publike. Radojka Šverko svojim je nastupima i pobjedama obilježila festival Melodije Istre i Kvarnera. Trideset godina angažmana obilježio je koncert “Moj film” na kojem je nastupila uz pratnju simfonijskog orkestra HNK Ivana pl. Zajca. Trideset i petu obljetnicu rada, sa zakašnjenjem je obilježila 2004. božiænim koncertom u Kristalnoj dvorani hotela Kvarner u Opatiji. Nagrada “Porin” 1994. godine dodijeljena je Radojki Šverko za najbolju vokalnu interpretaciju. Iznimno korektan odnos prema profesiji i samosvojnost nagraðeni su 1995. godine odlièjem Reda Danice s likom Marka Maruliæa, a 2003. godine dodijeljena joj je posebna nagrada HGU-a “Status” za 35-godišnji doprinos glazbenoj umjetnosti. Radojka Šverko ne poznaje play-back i stoga ostaje vjerna svom putu jedinstvenog glazbenog umjetnika. 6

RADOJKA ŠVERKO Radojka was born in Pazin. At the beginning of her singing career, she was a member and solo performer in children's choirs. Attendance in festivals, significant performances and television appearances provided her with her first chance to compete. In 1969, she won the Puerto de la Cruz Festival and began her international career, cooperating with composer Alfi Kabiljo. Radojka Šverko performed and won awards in: Rio de Janeiro, Tokyo, Los Angeles, Madrid, Seoul, Athens, Puerto Rico, Scheweningen, Caracas, Curaçao, Bratislava, Florence, Palma de Mallorca, Cavena, etc. (beating David Bowie and Natalie Cole; Julio Iglesias was a special guest at her performance on Spanish television). She later returned to Croatia. She was victorious at numerous festivals, from the Split Festival in 1970 with her composition Kud plovi ovaj brod(To where does this boat sail), Zagrebfest, Melodies of Istria and Kvarner, etc. Next she appeared in the musicals Gubec beg, Grièka vještica (The Griè Witch), Karolina rijeèka (Karolina of Rijeka), and Les Miserables, where she played the lead parts. In the movie Bravo maestro directed by Rajko Grliæ, she was cast to play the leading role. Special value is given to the fact that her compositions have been included on top lists for years, as well as the public's unavoidable recognition. Radojka Šverko has left her mark on the Melodies of Istria and Kvarner festival with her performances and victories. Her thirty year career was celebrated with the concert entitled Moj film (My film), where she performed alongside the Ivan pl. Zajc Symphonic Orchestra. The celebration of her 35 year career was delayed but was marked with the 2004 Christmas concert in the Crystal Ballroom at Hotel Kvarner in Opatija. Radojka Šverko won the Porin award in 1994 for best vocal interpretation. Her exceptionally correct attitude towards her profession and identity was awarded in 1995 when she received the Order of the Morning Star with the portrait of Marko Maruliæ, and in 2003 she was awarded the special Croatian Musicians Union Status award for her 35 year contribution to music. Radojka Šverko does not use play-backs and therefore remains true to her path as a unique musical artist.

04. / 05.07. petak-subota / Friday-Saturday Dramski program / Drama programme R.Queneau: Stilske vježbe / Les Exercices de style / Style Exercises Glume / Actors: Pero Kvrgiæ & Lela Margitiæ Premijera: 19. sijeènja 1968. Teatar ITD Sveèana proslava 40 godina izvoðenja:19. sijeènja 2008. DK Gavella. Predstava Stilske vježbe, najsjajniji je predstavnik cijele jedne iznimne kazališne ere. Svojom neospornom kvalitetom veæ punih 40 godina spada u sam vrh svjetske kazališne produkcije. Radi se o jednoj obiènoj zgodi iz svakodnevnog života koja u tumaèenju izvrsnih Pere Kvrgiæa i Lele 7

Margitiæ na dvadesetak razlièitih naèina postaje vrhunska komedija, burleska koja oduševljava, mami salve i salve smijeha te oduševljava glumaèkom virtuoznošæu. Stilske vježbe fenomen su svjetskih razmjera. One su najdulje izvoðena predstava na svijetu s istom glumaèkom postavom što je i službeno potvrðeno ulaskom predstave u Guinnessovu knjigu rekorda. Pero Kvrgiæ i Lela Margitiæ ovu su predstavu svojom virtuoznošæu poveli i u svjetsku kazališnu povijest. Tomislav Radiæ roðen je 1940. u Zagrebu. Diplomirao je 1962. na Filozofskom fakultetu i 1973. na Akademiji dramske umjetnosti. Od 1965. do danas režirao je u svim kazalištima u Zagrebu, povremeno je gostovao u Dubrovniku na Festivalu te je bio stalni suradnik televizije. Od 1977. do 1997. bio je profesor glume i režije na Akademiji dramske umjetnosti, a od 1998. do 2000. glavni urednik Dramskoga programa Hrvatske televizije. Uz èetrdesetak dokumentarnih i igranih emisija na televiziji, snimio je i nekoliko igranih filmova. Za Živu istinu (1971) kritika je isticala kako je Radiæ, služeæi se dijelom metodama direktnog filma, spojio niz dokumentaristièkih isjeèaka iz svakidašnjice jednoga grada, s potragom jedne nepotvrðene glumice za poslom. Njegov Timon (1972) ocijenjen je kao originalna parafraza Shakespeareova teksta, u kojoj se glavnomu junaku sudbina odglumljenoga lika pomiješa s vlastitim životom. Filmografija: Živa istina (1971), Timon (1972), Luka (1991), Anðele moj dragi (1995), Holding (2001) i Što je Iva snimila 21.listopada 2003. (2005). Pero Kvrgiæ, roðen 4. ožujka 1927. u Srpskim Moravicama (danas Moravicama) jedan je od najveæih hrvatskih glumaca, èije su kreacije obilježile èitavu jednu kazališnu epohu. Od svojih poèetaka 1948. godine do danas igrao je u gotovo svim hrvatskim kazalištima i kazališnim grupama te nastupao na najpoznatijim kazališnim festivalima (ZDK Gavella, Teatar &TD, ZKM, HNK Zagreb, HNK Split, rijeèki HKD teatar, dubrovaèko Kazalište Marin Držiæ, Komedija, Kerempuh, Teatar u gostima, Epilog teatar, brijunski Teatar Ulysis, Žar ptica, Bagatella, Dubrovaèke ljetne igre, Splitsko ljeto itd.). Odigrao je više od 180 razlièitih uloga: Pomet, Dundo Maroje, Harpagon, Sganarelle, Pathelin, Nemoænik, Lear (Bondov), On (Stilske vježbe), Mochinpott, Janez, Kir Janja itd. Igrao je u desetak filmova, nekoliko TV drama i u brojnim radiodramama. U biblioteci Vijenac Matice Hrvatske tiskana mu je knjiga kolumni Stilske vježbe. Dobitnik je brojnih nagrada: Nagrade "Vladimir Nazor", Nagrade Grada Zagreba, Nagrade Grada Dubrovnika, Nagrade Sterijinog pozorja, Nagrade sarajevskih Malih scena, Nagrade "Orlando", Nagrade "Tito Strozzi", Nagrade "Dubravko Dujšin", Nagrade kritike, Nagrade hrvatskog glumišta, Nagrade "Eleonora Duse", Nagrade "Marul" itd. S predstavama Kraljevo i Patnje gospodina Mochinpotta gostovao je na mnogim inozemnim pozornicama. Godine 2006. predsjednik Republike Hrvatske Stjepan Mesiæ odlikovao je Peru Kvrgiæa Redom Kneza Branimira s ogrlicom za izniman i dugogodišnji doprinos kulturi Republike Hrvatske. Lela Margitiæ roðena je 28.7.1941. god. u Krasici kraj Sušaka. Nakon mature upisuje studij glume na Zagrebaèkoj Akademiji dramskih umjetnosti. U radnom odnosu sa stalnim angažmanom u kazalištu Komedija gdje je igrala je mnogim mjuziklima kao što su: Ljubimica Divljeg zapada, Slatka Irma, Guslaè na krovu i Aplauz. Zadnjih 10 godina intenzivno se 8

bavi šansonom suraðujuæi sa šansonjerkom Ladom Kos. Ostvarila je i mnoge kazališne uloge, a ulogom u Stilskim vježbama, pokazala je velièinu svojega glumaèkoga talenta. Godinama je nezamjenjiva suradnica u umjetnièkom i obrazovnom programu Hrvatskog radija. Èesto je suraðivala u emisiji Poezija naglas (emisija poznatog pjesnika Danijela Dragojeviæa), koja više od tri desetljeæa egzistira na treæem programu Radio Zagreba. Dobila je priznanje „Red Danice Hrvatske sa likom Marka Maruliæa“. 2004 godine. Premiere: 19 January 1968 ITD Theatre A festive celebration of 40 years of performance: 19 January 2008 DK Gavella The Stilske vježbe play will be performed, one of the most brilliant plays of an exceptional theatre era. With its incontestable quality, it has been in the peak of the world theatre production for the past 40 years.

This play is an ordinary event of everyday life which is extraordinarily interpreted by Pero Kvrgiæ and Lela Margitiæ in twenty different ways making it a high quality comedy, a burlesque which delights, sparks laughter and pleases with the acting virtuoso. Stilske vježbe is a phenomenon of worldly proportions. It is the longest performed play in the world with the same cast, officially proven with the inclusion of the play in the Guinness Book of World Records. The virtuosity of Pero Kvrgiæ and Lela Margitiæ has made world theatrical history with this play. Tomislav Radiæ was born in 1940 in Zagreb. He graduated in 1962 from the Faculty of Philosophy and graduated from the Academy of Drama in 1973. From 1965, he has worked as a director in all theatres in Zagreb, he was a guest in Dubrovnik's famous festival, and he was a permanent television associate. From 1977 to 1997, he was a professor of Drama and Directing at the Academy of Drama, and from 1998 until 2000, he was the Editor-in-chief of the Drama Programme on Croatian Radio Television. Alongside forty documentaries and television shows, he also worked on several movies. For Živu istinu (Living Truth) (1971), critics pointed out that Radiæ, utilizing certain methods directly from film, used a range of documentary clips from daily life in the city on an unknown actress's search for work. His work Timon (1972) was rated an original paraphrase of Shakespeare's text, where the protagonist's own life gets mixed up with the character he is interpreting. Movie biography: Živa istina (Living Truth) (1971), Timon (1972), Luka (1991), Anðele moj dragi (My dear angel) (1995), Holding (2001) and Što je Iva snimila 21.listopada 2003. (What Iva filmed on 21 October 2003) (2005). Pero Kvrgiæ, born on 4 March 1927 in Srpske Moravice (today's Moravice) is one of the greatest Croatian actors, whose creations mark an entire theatre epoch. Since his beginnings in 1948, he has acted in nearly all Croatian theatres and theatre groups and performed at the best known theatre festivals (ZDK Gavella, Teatar &TD, ZKM, HNK Zagreb, HNK Split, Rijeka's HKD theatre, Dubrovnik Theatre Marin Držiæ, Komedija, Kerempuh, Teatar u gostima, Epilog teatar, Brijuni's Teatar Ulysis, Žar ptica, Bagatella, Dubrovnik Summer Festival, and Split Summer, etc.). He has played over 180 different parts: Pomet, Dundo Maroje, Harpagon, Sganarelle, Pathelin, Nemoænik, Lear, On (Stilske vježbe), Mochinpott, Janez, Kir Janja, etc. He has acted in ten movies, several TV dramas, and numerous radio-dramas. His book entitled Stilske vježbe was published in the Vijenac Matice Hrvatske (Matrix Croatica) library. He has received many awards: Vladimir Nazor award, The City of Zagreb award, City of Dubrovnik Award, Steriji Theatre award, Sarajevo small scene award, Orlando Award, Tito Strozzi Award, Dubravko Dujšin Award, Critics Choice Award, Croatian Actors Award, Eleonora Duse Award, Marul Award, etc. He has acted on many foreign stages with the plays Kraljevo (The King's Own) and Patnje gospodina Mochinpotta (The Agony of Mr. Mochinpott). In 2006, Croatian President Stjepan Mesiæ awarded Pero Kvrgiæ with the Knez Branimir Order with a sash for his exceptional and longterm contribution to the culture of the Republic of Croatia. 10

Lela Margitiæ was born on 28 July 1941 in Krasica near Sušak. After secondary school, she began studying acting at the Zagreb Academy for Drama. She is a permanent member of the Komedija Theatre where she has performed in many musicals such as: Ljubimica Divljeg zapada (Sweetheart of the Wild West), Slatka Irma (Sweet Irma), Guslaè na krovu (Fiddler on the Roof) and Aplauz (Applause). Over the past ten years, she has been intensively performing chansons together with chanson singer Lada Kos. She has played many theatrical parts, and her part in Stilske vježbe proved the greatness of her acting abilities. For years she has been an irreplaceable colleague in the artistic and educational programs at Croatian Radio. She has often participated in the Poezija naglas (Poetry out loud) radio show (a show led by famous poet Danijela Dragojeviæ), which has existed for over three decades on Radio Zagreb, channel three. She was decorated with the Order of the Morning Star with the portrait of Marko Maruliæ in 2004.

06.07. nedjelja / Sunday Glazbeni program / music programme Orkestar GD Spinèiæi & Maja Blagdan / Spinèiæi Music Society orchestra & Maja Blagdan Glazbeno društvo „Spinèiæi“ dolazi iz Grada Kastva i postoji od 1921. godine. Orkestar broji 50-ak glazbenika, a godišnje prosjeèno ostvaruje pedesetak nastupa. Puhaèki orkestar GD „Spinèèiæi“ nastupa širom Hrvatske, a veoma èesto i izvan njenih granica na festivalima i susretima u Italiji, Sloveniji, Maðarskoj, Èeškoj, Slovaèkoj, Poljskoj, Nizozemskoj, Austriji i Njemaèkoj. Od 1996. godine orkestar organizira Meðunarodni festival puhaèkih orkestra u Kastvu povodom Dana Grada Kastva 06.lipnja, tako se ove godine održava 12. po redu Festival puhaèkih orkestara „Kastav 2008“. Na dosadašnjih deset festivala gostovala su 32 orkestra iz Italije, Austrije, Sovenije, Maðarske, Èeške, Slovaèke, Poljske i Hrvatske. 2005. godine puhaèki orkestar izdao je svoj prvi CD pod naslovom „Spinèiæeva muzika“. U društvu djeluje Interna glazbena škola gdje prosjeèno dvdesetak mladih glazbenika stjeèe svoja prva glazbena iskustva koja uspješno primjenju u puhaèkom orkestru. Grad Kastav i orkestar biti æe domaæini 34. susreta puhaèkih orkestara Istre koje æe se održati 2009. godine. Puhaèki orkestar Glazbenog društva „Soinèiæi“ uspješno suraðuje s poznatim hrvatskim umjetnicima Sandrom Bagariæ, Zoricom Konða, Vinom Cocoe, Let 3. Tijekom 2008. godine puhaèki orkestar sudjelovati æe na festivalima u Austriji, Sloveniji i Hrvatskoj. Tradicionalno sudjeluje na „Kastafskom kulturnom letu“. The Spinèiæi Music Society comes from the Town of Kastav and was established in 1921. The Orchestra is composed of approximately 50 musicians, and has an average of 50 performances each year. The Spinèiæi Music Society wind orchestra performs throughout Croatia, and quite often internationally at festivals and meetings in Italy, Slovenia, Hungary, the Czech Republic, Slovakia, Poland, the Netherlands, Austria and Germany. 11

Since 1996, the Orchestra has organized the International Wind Orchestra Festival in Kastav on the Town of Kastav Day celebrated on 6 June. This year, the 12th annual Wind Orchestra Festival “Kastav 2008” will be held. In previous festivals, 32 orchestras participated from Italy, Austria, Slovenia, Hungary, the Czech Republic, Slovakia, Poland and Croatia. In 2005, the wind orchestra released its first CD titled Spinèiæeva muzika (Spinèiæi's music). The Association also runs a music school where, on average, twenty young musicians gain their first musical experiences in a wind orchestra. The Town of Kastav and the orchestra will play host to the 34th Meeting of Istrian Wind Orchestras in 2009. The wind orchestra of the Spinèiæi Music Society successfully cooperates with well-known Croatian artists, including Sandra Bagariæ, Zorica Konða, Vinko Coce, and Let 3. During 2008, the wind orchestra will participate in festivals in Austria, Slovenia and Croatia. They traditionally participate in the Kastav Cultural Summer Festival.

15.07. utorak / Tuesday Dramski program / Drama programme HNK „Ivan pl. Zajc“ Rijeka/ Croatian national theatre Ivan pl. Zajc, Rijeka D.Goggin: „NUNSENCE“,glazbena komedija / musical comedy Komièni mjuzikl Dana Goggina „Nunsense“ veliki je off-brodvejski hit koji je prvi put u Hrvatskoj izveden u rijeèkom Hrvatskom narodnom kazalištu Ivana pl. Zajca u sijeènju 2008. godine u režiji i koreografiji brodvejske uèenice Mojce Horvat. Veæ nakon dviju premijera znalo se kako je rijeèko Kazalište dobilo hit predstavo za koju se i danas traži karta više. „Buran aplauz za urnebesne èasne! Raspjevane èasne sestre izmamile burni aplauz publike! Duhovita broadwayska veselica!“, samo su neki od naslova koji su nakon premijera „Nunsensea“ punili stranice dnevnih novina. Otkaèena prièa u kojoj pet još otkaèenijih èasnih sestara mora organizirati dobrotvorni show ne bi li prikupile novac za dio ukopa pedesetdvije èasne sestre, otrovane fatalnom recepturnom greškom jedne jedine kuharice, samo je poèetak

urnebesnih situacija, zaèinjenih crnim humorom i sjajnim songovima, kojima obiluje ovaj megapopularni mjuzikl. Nakon prve verzije “Nunsense”, gledatelji su toliko bili oduševljeni rasplesanim i raspjevanim samostanom, da je Goggin morao napisati nekoliko razlièitih nastavaka koji su doživjeli nevjerovatnu gledanost i „Nunsense“ uèinili meðunarodnim fenomenom. U rijeèkoj predstavi sudjeluju: Olivera Baljak, Andreja Blagojeviæ, Vivien Galletta, Leonora Surian, Elena Brumini, Antonela Malis, Anastazija Balaž Leèiæ, Kristina Kaplan. „Redateljica Mojca Horvat svoje je umijeæe stavila potpuno u funkciju razlièitosti protagonistica predstave. Ostavivši im slobodu u kojoj je svaka od glumica mogla izraziti svoje eksplicitne kvalitete i talent, ona ih je strogo držala u okvirima plesnog zanata. Prirodnost i lakoæa izvedbe koju demonstriraju obje podjele, prava su zasluga Mojce Horvat i njena uporna, znalaèkog rada, koji je rezultirao predstavom što ju rijeèka Hrvatska drama može pokazati bilo gdje.“ !...pisala je, meðu ostalim, kazališna kritièarka Svjetlana Hribar u Novom listu. Autorsku ekipu uz redateljicu i koreografkinju Mojcu Horvat èine dramaturginja Magdalena Lupi, scenograf Dalibor Laginja, kostimografkinja Sandra Dekaniæ i oblikovatelj svjetla Zoran Najdenov. The comical musical by Dan Goggin entitled Nunsense is a great off-Broadway hit which was first performed in Croatia in Rijeka's National Theatre Ivan pl. Zajc in January 2008, with direction and choreography by Broadway student Mojca Horvat. After two premieres, it was clear that Rijeka's theatre had received a hit play which is well sought after today. “Roaring applause for the rumpus nuns! The singing nuns enticed the public's roaring applause! Funny Broadway celebration!” are but a few of the daily newspaper headlines which Nunsense received after its premiere. The wild story is about five even wilder nuns who must organize a charity show to collect money to pay a share of the funeral expenses for 52 nuns, poisoned by a cook's fatal recipe error. This is only the beginning of the rumpus situation, spiked with black humour and excellent songs, which enrich this mega popular musical. After the first Nunsense performance, viewers were so delighted by the dancing and singing abbey that Goggin has to write several different sequels, which all experienced unbelievable attendances and have made Nunsense an international phenomena. The Rijeka play is performed by the following cast: Olivera Baljak, Andreja Blagojeviæ, Vivien Galletta, Leonora Surian, Elena Brumini, Antonela Malis, Anastazija Balaž Leèiæ, and Kristina Kaplan. “Director Mojca Horvat, through her workmanship, put different protagonists into function completely in this play. By leaving enough freedom so each actress could portray her explicit quality and talent, she kept them in the strict framework of dance. The naturalness and ease of the performance demonstrated in both parts are the real credit of Mojca Horvat and her determined, professional work which resulted in a play which the Rijeka drama can perform anywhere!½...wrote theatre critic Svjetlana Hribar in the Novi List daily. The team including director and choreographer Mojca Horvat includes dramaturge Magdalena Lupi, scenographer Dalibor Laginja, costume designer Sandra Dekaniæ and light artist Zoran Najdenov.

19.07. subota / Saturday Glazbeni program / Music programme Solistièki koncert: Massimo i orkestar / Solo concert: Massimo and orchestra Massimo je jedan od najoriginalnijih autora i pjevaca hrvatske glazbene scene, a iza njega stoji dugogodišnji rad te mnogobrojni albumi i hitovi. Dobitnik prestižnih nagrada -"Porin", Nagrade Splitskog Festivala 2008., Davorina 2005., Hrvatski modni Oscar. Kao voda legendarne new wave grupe Dorian Gray osamdesetih izdaje prvi - Sjaj u tami, te dvije godine kasnije drugi album Za tvoje oci. Grupa se proslavila ponajviše zahvaljujuci upecatljivom glasu Massima Savica. Nakon razlaza grupe zapocinje uspješnu samostalnu karijeru i objavljuje cetiri albuma. Slijedi zaokret u karijeri i art pop i rock projekti poput albuma na engleskom jeziku Elements ili vokal u grupi Metal Guru, uz istovremeno objavljivanje petog albuma - Benzina 1997. godine. Upravo u vrijeme zenita hrvatske "dance" glazbe otpjevao je jedan od najduhovitijih hitova Benzina. Nakon pet godina stanke, izvanredni pjevac koji je nebrojeno puta zadužio hrvatsku glazbenu scenu, objavljuje novi album jednostavna naslova Massimo, a potom su uslijedili hvaljeni albumi Vještina i Vještina 2 koji su Massima vratili u sam vrh hrvatske mainstream pop-rock glazbe. S obzirom na uspjeh ovoga glazbenika i zadnjih albuma s nestrpljenjem išcekujemo njegov novi uradak. Koncerti ovog glazbenika su posebno iskustvo jer Massimo na svakom nastupu daje svoj maksimum u interpretaciji pjesama, tako da publika ostaje zadivljena energijom koju Massimo nesebicno daje u svojim izvedbama. Njegovo najjace orude je definitivno njegov glas koji je mnogostruko nagradivan i od struke i od publike, ali ne smijemo zaboraviti i band koji ga stalno prati na svim koncertima i koji je sastavljen od vrsnih glazbenika! Naravno tu su i pjesme koje su svaka za sebe posebna prica, ali spomenimo barem neke: "Da mogu" s albuma "Vještina 2" je hit singl, pjesma je prepjev izvorno talijanske "Magari", koju potpisuje jedna od najvecih i najtalentiranijih suvremenih talijanskih pop zvijezda - Renato Zero. Bacila je sve niz rijeku, Stranac u noci, Loše vino, Libar, Sjaj u tami, Ne placi samo su neke od sjajnih pjesama u kojima cete moci uživati na koncertu. Massimo is one of the most original songwriters and singers on the Croatian music scene, with a long career and numerous albums and hits to prove it. He was the winner of several prestigious awards -"Porin", Split Festival Award in 2008, and Davorin in 2005, the Croatian fashion Oscar. As lead singer of the legendary 1980's new wave group Dorian Gray, he released his first album - Sjaj u tami (Gleam in the darkness), followed by the second album two years later titled Za tvoje oci (For your eyes). The group became famous mainly because of the distinct voice of Massimo Savic. After the band's break-up, he began a successful solo career and released four albums. A transformation then occurred in his career, resulting in art pop and rock projects such as an album in English called Elements and his vocal contribution in the band Metal Guru, while at the same time releasing his fifth album – Benzin (Gasoline) in 1997. At the zenith of the Croatian "dance" music scene, he sang one of his most humorous hits, Gasoline. After a five year break, 15

this extraordinary singer, to whom the Croatian music scene has been indebted to on many occasions, released a new album simply called Massimo, later followed by the much praised albums Vještina (Mastery) and Vještina 2 (Mastery 2) which returned Massimo to the top of the mainstream charts in the Croatian pop-rock scene. Based on the success of this musician as well as his previous albums, we impatiently await his new album. Concerts by this musician are a special experience because Massimo gives his best in interpreting each song during his performance, leaving the public impressed with the energy which Massimo altruistically portrays. His greatest weapon is definitely his voice which has been awarded both by professionals and the public many times. Nor can we forget the band which accompanies him at every concert and which is composed of competent musicians! Of course, there are songs which are stories of their own, but we mention only a few: “Da mogu" (If I could) from the Vještina 2 (Mastery 2) album is a hit single, originally a remake of the original Italian song "Magari" (Donkeys), sung by one of the greatest and most talented

Photo by Walter 16

modern Italian pop stars - Renato Zero. Bacila je sve niz rijeku (She threw everything in the river), Stranac u noci (Stranger in the night), Loše vino (Bad wine), Libar (Book), Sjaj u tami (Gleam in the Darkness), and Ne placi (Don't cry) are only a few of the magnificent songs which you can enjoy at his concerts.

Desetu obljetnicu suradnje, Kastafski puèki teatar i autor Vjeko Aliloviæ, obilježavaju sedmom zajednièkom predstavom. '' Dobro nan prišli...prišliæi! '' još je jedna predstava kojom Kastafski puèki teatar pokazuje svu raskoš kvalitetne igre, zaigranosti i ljubavi prema èakavštini. Kao i u svojim dosadašnjim predstavama, teatar progovara o našem malom, domaæem èovjeku, dovedenom u naizgled bezizlaznu situaciju, koju nastoji prebroditi na svoj jednostavan i svakodnevan naèin. No, da li æe i ovaj put, sve teæi kako treba? U susretu ustaljene svakodnevice i nekih èudnih vremena i navika u kojima živimo, ništa nije kako se èini...I upravo tu se gradi još jedna prièa za koju ne dvojimo da æe zaintrigirati i oduševiti publiku ne samo u Kastvu, veæ svugdje gdje se predstava bude igrala. Jer, itekako aktualna tema predstave bit æe prepoznatljiva svakoj duši koja, kroz današnja vremena, svjedoèi èudnim putevima Gospodnjim... ''Dobro nan prišli...prišliæi'' i Kastafski puèki teatar donose, još jednom, svježinu i radost, kako same igre tako i tematske atraktivnosti, scenografije...pa i hrabrosti! Kastavski ansambl, ovjenèan brojnim nagradama i omiljen gdje god da postavi svoju scenu, u naše živote još æe jednom unijeti veselje, odmak od svakodnevnih briga i potvrdu da èakavština živi na ovim prostorima, i to punim pluæima! Jer, bili prišliæi ili ne, ovaj ansambl ne možete ne voljeti... The tenth anniversary of cooperation between the Kastav Folk Theatre and author Vjeko Aliloviæ, is marked with their seventh joint play. Dobro nan prišli...prišliæi! (Welcome… newcomers!) is another play in which the Kastav Folk Theatre portrays the grandeur of high quality acting, playfulness and love towards Chakavian tradition. As in past performances, the theatre deals with an ordinary man, brought to a seemingly hopeless situation, which he attempts to overcome through a simple, daily way. But will everything go as planned this time? In the crossroads between daily routine and the strange times in which we live, nothing is as it seems…And here another story is constructed and is sure to interest and delight the public not only in Kastav, but everywhere the play is performed. The modern topic of the play will be recognizable to every soul who, in today's time, is witness to the magnificent ways of the Lord… Dobro nam prišli...prišliæi (Welcome…newcomers!) and the Kastav Folk Theatre bring, once again, animation and joy, both through the play and through the attractiveness of the story, the scenography… and even through courage! The Kastav ensemble, which has received numerous awards and is favoured wherever their stage is erected, will bring joy to our lives once again, as well as a detachment from daily worries and a confirmation that Chakavian tradition is alive and breathing in these regions! Because, whether you are newcomers or not, this ensemble cannot be disliked...

22.07. utorak / Tuesday Dramski program / Drama programme Gradsko kazalište Sisak, "Kristalna kocka vedrine" / Sisak Town Theatre, "Crystal cube of brightness" David Harrower: KOS / Blackbird Glume / Cast: Olga Pakaloviæ & Zijah A.Sokoloviæ Režija / Director: ZIJAH A. SOKOLOVIÆ Scenograf / Stage designer: IGOR PAUŠKA Kostimograf / Costumes: LEO KULAŠ Glazba / Music: IRENA POPOVIÆ Fotografija / Photo: SENKA SOKOLOVIÆ Dizajn / Design: SILVIO PARISI Uloge / Cast: Una: OLGA PAKALOVIÆ, Raj: ZIJAH A. SOKOLOVIÆ Kako se komad Davida Harrowera: „Kos” bliži kraju, tako oba protagonista skidaju sve sa sebe - i ostaju goli koliko samo dva èovjeka mogu biti. Ali nisam rekao potpuno goli. „Kos” je komad koji govori o seksualnoj vezi koja transformira i paralizira. U procesu koji je koliko je neizbježan, toliko i bolan, dolazi do izražaja potpuni obrambeni oklop (obrambeni sistem) koji su muškarac i žena pomno gradili tijekom 15 godina koliko se nisu vidjeli. Gledatelj se nalazi u poziciji da promatra najdublje dubine njihovih duša. Tako nezaštiæeni i drhteæi, oni su potpuno ranjivi, tako da gledatelj osjeæa kako bi trebao pogledati u drugom pravcu. S druge strane kako ne pogledati u njihovom pravcu? Kazališna / teatralna, kao i emotivna golotinja koja se gledatelju prezentira u „Kosu” je ove godine zaslužna za nagradu Lorens Olivije u Londonu. Time je „Kos” tako „oteo” tu nagradu puno veæim dramskim piscima današnjice. Za razliku od mnogih kazališnih komada ove sezone koji dekonstruira svijet s intelektualnim pretencioznostima, „Kos” je teatar koji ima samo najosnovnije elemente: jednog muškarca, jednu ženu, jedno mjesto dogaðanja u sadašnjosti i oèi u oèi konfrontaciju o dogaðajima koji su davno u prošlosti. Oba karaktera nisu nešto posebno pronicljivi, ali ono što izlazi na površinu kao istina - je manje pitanje èinjenice, veæ više pitanje osjeæaja - i ta istina izlazi na vidjelo bez obzira na sve. „Kos” je sjeæanje na nešto - što je po bilo kojoj legalnoj definiciji - seksualno zlostavljanje. Rijeè „zlostavljanje” se spominje u komadu i istovremeno je gušeæi faktor za oba karaktera, te kao veæina rijeèi koje se upotrebljavaju, neadekvatna. As the action of David Harrower's Blackbird comes to an end, both protagonists take off their clothes and remain as naked as two persons can be. But I did not say completely naked. Blackbird is a play that speaks about a sexual relationship that is both transforming and paralyzing. In the process that as painful as it is inevitable, a defensive shield 19

is revealed, built carefully around the man and the woman over the 15 years in which they had not seen each other. The viewer is in a position of viewing the deepest depths of their souls. So exposed and trembling, they are completely vulnerable, and the viewer feels he should look aside. On the other hand, how to resist watching in their direction? The theatrical and emotional nakedness presented in the play Blackbird deservingly won this year's Lawrence Olivier Award in London. Blackbird stole this award away from more famous contemporary playwrights. Unlike numerous plays this season, which decompose the world with intellectual pretensions, Blackbird is theatre with only the basic elements: a man, a woman, a venue in the present, and face-to-face confrontation over events from the distant past. Neither of the characters is particularly keen, but what surfaces as the truth is less a matter of fact, but more a matter of feeling, because that truth is brought to light in spite of everything. Blackbird is remembrance of something which is, by any legal definition, sexual abuse. The word â&#x20AC;&#x153;abuseâ&#x20AC;? is mentioned in the play, but it is a suffocating factor for both characters and is, like the majority of the words used, inadequate. 20

25.07. petak / Friday Dramski program / Drama programme „Èa-teatar“ / „ÈA-Theatre“ Kastav S.Cuculiæ „štrigi i štriguni“ / ½Witches and Wizards½ Glume / Cast: Branka Šobot, Erol Mlakar, Sandra Srdoè, Teo Brnèiæ, Adrijano Grbac Igraju / Cast: Branka Šobot, ( Dragana Ružiæ), Erol Mlakar, Sandra Srdoè, Adriano Grbac i Teo Brnèiæ. Inspicijent / Stage Manager: Kate Mlakar Glazba i efekti / Music and effects: Voljen Mlakar Plakat / Poster: Vedran Mlakar Tehnika / Technical work: Lazar Radmanoviæ i Dalibor Reš – Gašo Rasvjeta i ton / Lighting and tone: Damir Kinkela i Sanjin Bleèiæ

Udruga „ÈA“ osnovana je u kolovozu 2006. godine, s ciljem: oèuvati domaæu besedu i obièaje našega kraja. U okviru Udruge djeluje „ÈA“ – t e a t a r, koji je do sada realizirao preko 100 satirièno-humoristièkih radio-emisija pod imenom „MANEŠTRICA“, u produkciji Studia „MEDIA-ART“ iz Kastva, a koje se redovito, svake nedjelje u 13 sati emitiraju preko radia „MAXIMUM“, a repriziraju utorkom u 18 I 30. Naša prva predstava, „NOÆ ŠTRIG I ŠTRIGUNI“ ili „DVOTARIFNA KUMEDIJA BREZ LIMITATORA,“ autora rijeèkog književnika Sreæka Cuculiæa, a u režiji Erola Mlakara, praizvedena je 31. kolovoza i 01. rujna 2007. u Kastvu. Veæ sam naslov govori da je tekst duhovit: Kako naša prosjeèna obitelj u vrijeme aktualne tranzicije, steèajeva, nezaposlenosti i besparice, može ipak uštedjeti. Svi kuæni poslovi, umjesto po danu obavljati æe se po noæi, kada je tarifa elektriène energije jeftinija. I, tu poèinje zaplet…. The ½ÈA½ Association was established in August 2006 with the goal of preserving the national dialect and traditions from our region. ½ÈA½ Theatre operates within the Association, and has performed over 100 satirical-humoristic radio shows entitled ½MANEŠTRICA½, produced by the MEDIA-ART Studio from Kastav, which are broadcast Sundays at 1:00 pm on Radio Maximum, and repeated Tuesdays at 6:30 pm. Our first play, ½NIGHT OF WITCHES AND WIZARDS ½ or ½DUAL-TARIFF COMEDY WITHOUT LIMITATORS½, created by Rijeka author Sreæko Cuculiæ and directed by Erol Mlakar, premiered on 31 August and 1 September 2007 in Kastav. The title alone tells us that the text is humorous: How an average family can actually save money during times of transition, bankruptcy, unemployment and pennilessness. All housework is done during the evening hours instead of during the day when the electrical energy rate is lower. Only then does the plot begin to unravel…

27.07. nedjelja / Sunday „Canciones“-veèer španjolske glazbe / an evening of Spanish music Bariton / Baritone: Saša Matovina i Rijeèki komorni orkestar / Rijeka Chamber Orchestra Mo Alan Bjelinski, Diana Grubišiæ Æikoviæ-harfa / harp; Klape: Kastav, Kamelija, Nevera, Zvonejski kanturi; Koncert Canciones je programski u potpunosti posveæen vrlo atraktivnoj španjolskoj glazbi. Bit æe ostvaren u suradnji s brojnim vrhunskim glazbenicima Rijeèkog komornog orkestara meðu kojima izdvajamo gošæu koncerta Dianu Grubišiæ Æikoviæ – harfistica, inaèe i sama dugogodišnja èlanica spomenutog orkestra. U programu æe sudjelovati i naši vodeæi jazz glazbenici te muške klape Kastav, Nevera, Zvonejski kanturi i ženske klape Kastav i Kamelija. Atraktivnim glazbenim programom ravnat æe maestro Alan Bjelinski. Koncert Canciones ukratko bi se mogao sažeti rijeèima: od klasike do jazza, buduæi su na njegovom programu djela španjolskih klasiènih skladatelja Manuel de Falla – ciklus pjesama za bariton

Siete Canciones populares Españolas i Joaquin Rodrigo – obrada poznatog gitarskog koncerta Concierto de Aranjuez za harfu, zatim èuvene španjolske pjesme – zarzuele te konaèno ljubavne jazz balade bolerosi. Solist koncerta je Saša Matovina – bariton, inaèe od 1994. godine stalni èlan opernog zbora ansambla Opere HNK Ivana pl. Zajca u Rijeci. Pored angažmana u zboru, imao se prilike, i to vrlo uspješno, okušati u solistièkim nastupima na sceni rijeèke Opere u brojnim uprizorenjima opera najpoznatijih svjetskih skladatelja poput Verdija, Puccinija, Bizeta, Rossinija, Zajca, te u operetama i mjuziklima Zajca i Kabilja. I ove operne sezone 2007/2008, angažiran je u pojedinim naslovima kao solist i to u operama Tosca Giacomo Pucinija, Rossinijevom Seviljskom brijaèu te u djeèjoj operi Pèelica maja Brune Bjelinskog. Pored solistièkih angažmana u matiènoj kuæi posljednjih godina održao je i niz solistièkih recitala. Od 1994. godine je umjetnièki voditelj ženske i muške klape Kastav koje su u zemlji i inozemstvu višestruko nagraðivane te bilježe brojna gostovanja diljem svijeta: Austrija, Brazil, Grèka, Italija, Južna Koreja, Maðarska, Malta, Meksiko, Nizozemska, Njemaèka, Poljska, Slovenija i Španjolska. The programme of the Canciones concert is dedicated to attractive Spanish music. Numerous top musicians from Rijeka's Chamber Music Orchestra will participate in the programme, including special guest Diana Grubišiæ Æikoviæ – harpist, a long-time member of the orchestra. Many of our leading jazz musicians will take part, in addition to the male a capella singing groups Klapa Kastav, Nevera, Zvonejski kanturi and female groups Klapa Kastav and Kamelija. This attractive musical programme will be led by maestro Alan Bjelinski. The Canciones concert could be summed up in several words: from classical to jazz. Pieces include works by Spanish classical composer Manuel de Falla, a series of songs for the baritone Siete Canciones populares Españolas, and Joaquin Rodrigo, a remake of a well known guitar concert Concierto de Aranjuez for the harp, the prominent Spanish song zarzuele and finally, the jazz love ballade bolerosi. The concert soloist is Saša Matovina, baritone and a permanent member of the Zajc 23

Opera Orchestra of the Croatian National Opera in Rijeka since 1994. Alongside performing in the Ensemble, he has had the opportunity to hold solo opera performances at the Rijeka Opera of the most famous world composers such as Verdi, Puccini, Bizet, Rossini, Zajc, as well as in operettas and musicals composed by Zajc and Kabiljo. In this opera season 2007/2008, he has been engaged in individual titles as a soloist such as the operas Tosca by Giacomo Pucini, Rossini's The Barber of Seville and in the children's opera Bumblebee Maja by Bruno Bjelinski. Alongside his solo career in Rijeka's Opera house, he has also held many solo recitals over the past several years. Since 1994, he has been Art Director for both the male and female Klapa Kastav, awarded many times nationally and internationally and giving numerous guest performances worldwide: Austria, Brazil, Greece, Italy, South Korea, Hungary, Malta, Mexico, the Netherlands, Germany, Poland, Slovenia and Spain.

30.07. srijeda / Wednesday Glazbeni program / music programme Ivana Marèelja & gosti / guests: Mirko Cetinski, Mario Batifiacca, Duško Jelièiæ Dule, Žvejarini Ivana Marèelja roðena je u Rijeci 1984. godine. Pohaðala je Osnovnu školu „Sveti Matej“ Viškovo, a istodobno i Osnovnu glazbenu školu „Ivan Matetiæ Ronjgov“. Po završetku osnovne škole upisala je srednju glazbenu školu. 2003. godine upisuje studij Mzièke akademije u Zagrebu na kojem je diplomirala 2007. godine na odsjeku za profesora glazbene kulture. Danas radi u svojoj struci kao nastavniku u školi „Drago Gervais“ na Brešcima i u Domu mladihkao honorarni djelatnik. Još od školskih dana pokazivala je zanimanje i sposobnost za glazbu. Sujelovala je na djeèjim festivalima na kojima je bila nagraðivana kako od žirija tako i od publike. Niz sudjelovanja i uspjeha nastavila je i na renomiranim festivalima kao što su Grobnièka skala, Melodije Kvarnera, Melodije Istre i Kvarnera, Èansonfest i Marko Polo Fest. Publika je prepoznaje po atraktivnim nastupima i ugodnom glasu kojim njeguje èakavski izrèaj i glazbu. Koncertom pod nazivom „Mojoj vile“ kojim æe se 24

predstaviti u Kastvu promovirati æe svoj istoimeni CD s dosadašnjim uspješnicama, ali i novijim pjesmama. Sve pjesme uživo æe izvoditi orkestar, a osim Ivane na koncertu nastupiti æe i gosti: Mirko Cetinski, Duško Jelièiæ Dule, Mario Lipovšek Battiffiaca i ansambl Žvejarini. Ivana Marèelja was born in Rijeka in 1984. She simultaneously attended the Sveti Matej Primary School and the Ivan Matetiæ Ronjgov Primary Music School. Upon completion of primary school, she attended middle musical school. In 2003, she enrolled at the Music Academy in Zagreb where she graduated in 2007 as a Professor for Musical Culture. Today she works in her field as a teacher in the Drago Gervais School in Brešci and in the Youth House as a part time employee. From her school days, she portrayed an interest and talent for music. She participated in children's festivals where she was awarded both by the jury and public. She continued her participation and success in renown festivals such as Grobnièka skala (Grobnik Scales), Melodije Kvarnera (Melodies of Kvarner), Melodije Istre i Kvarnera (Melodies of Istria and Kvarner), Èansonfest, and the Marco Polo Festival. The public recognizes her through her attractive performances and pleasant voice which nurtures the Chakavian expression and music. The concert titled ½Mojoj vile½, which she will perform in Kastav, will promote new songs from her CD of the same name, including her well known hits. All songs will be performed live with an orchestra, with several special guests joining her: Mirko Cetinski, Duško Jelièiæ Dule, Mario Lipovšek Battiffiaca and the Žvejarini Ensemble.

02.08. subota / Saturday Glazbeni program / music programme Klapa „Kampanel“ & gosti / guests: Irena Grdiniæ, Lea Kumic & Saša Matovina Svoj umjetnièki program sastavljen od izvornih dalmatinskih klapskih pjesama i obrada suvremenih pop skladbi te pjesama uz instrumentalnu pratnju (mandoline, mandole, gitare i kontrabasa) klapa izvodi i nastupa na znaèajnim susretima klapa, koncertima te drugim manifestacijama kako u Zagrebu, tako i u Hrvatskoj te u inozemstvu. Tijekom niza godina postala je nezaobilazna uspješna klapa koja njegovanjem dalmatinske pjesme šibenskog kraja preko raznih drugih glazbenih žanrova svojim duhom i temperamentom nastoji povezati „nespojive“ glazbene pravce. Klapa je osnovana 1996.godine u Zagrebu, kao jedan vid okupljanja i druženja studenata Primoštenskog kraja uz pjesmu. Meðutim kako to u studensko životu biva kroz brojni krug prijatelja u razdoblju dvije godine u klapi je pjevalo preko 20 pjevaèa iz svih krajeva Dalmacije sa privremenim boravkom u Zagrebu. 1998. godine Kampaneli poèinju sa komercionalnim radom, reducirajuæi èlanstvo te kroz 5-6 godina upornog nastupanja održava duh koji dovodi do konaènog okupljanja i stvaranja klape od „respekta“ koja do danas djeluje u sastavu 7 prekaljenih pjevaèa. 25

Èlanovi Klape Kampanel su / The members of Klapa Kampanel are: Nikša Antica – 1. tenor (bas) / 1st tenor (bass) Ante Antiæ – 2. tenor / 2nd tenor Tomislav Prcela – 2. tenor (gitara) / 2nd tenor (guitar) Mate Gaèina – bariton (gitara) / baritone (guitar) Slaven Bolanèa – bariton (mandolina) / baritone (mandolin) Jerica Gracin – bas (mandola) /bass (mandola) Miro Trgo – bas / bass Previše bi mjesta za nabrojati zauzele sve suradnje i nastupi koje je klapa imala u proteklom razdoblju, tako da æemo nabrojiti one najvažnije nastupe i nagrade minulog rada:

nastup na svjetskom sajmu EXPO Hanover 2000. 2.nagrada Festivala zabavne glazbe Split 2002. za pjesmu Fera bez noæi 1. Nagrada Uskrs festa 2006. Zagreb za pjesmu Lanterna moje duše Gala koncert „U ime ljubavi“ koji je održan u Sarajevu 02.12. 2006. nastup na koncertu „Karoca gre“, Zagreb14.05.2007. Klapski ciklus u HGZ-u, predstavljanje zagrebaèkih klapa veæ se održava tradicionalno zadnje 2 godine koncert pod nazivom „Klapski Woodstock“ 22. lipnja 2007. Rijeka. Na Klapskom Woodstocku klapa je nastupila zajedno sa 10 najboljih Hrvatskih klapa koje su afirmirane kao sastavi koji pjesme izvode uz pratnju instrumenata. Klapa je i sudionok klapskog ciklusa „Dobra veèer pismo moja“ u KD V. Lisinski Festivala zabavne glazbe, Split 2007 pod nazivom „Split na klapski naèin“ gdje su se izvodili stari festivalski hitovi u klapskim obradama. Zadnje dvije godine klapa je sudionik Hrvatskog radijskog festivala sa autorskim uradcima „Moja Ana“ i „Lipa najlipša“ Trenutno klapa dovršava nosaè zvuka kojim se predstavlja u jednom novom vokalno instrumentalnom izrièaju složenom nešto autorskim, a nešto pjesmama ko su obrade popularnih pop izvoðaèa 80-ih godina. Their art program is made up of original Dalmatian Klapa songs and remakes of modern pop compositions as well as instrumental songs (mandolin, mandola, guitars and contrabass). The Klapa performs at significant Klapa gatherings, concerts and other manifestations both in Zagreb, Croatia and internationally. Over the past several years, they have become an inevitably successful Klapa which nurtures Dalmatian songs from the Šibenik area through other music genres through their spirit and temperament attempting to merge ½incompatible½ musical directions. The Klapa was founded in 1996 in Zagreb as a social gathering through song for students from the Primošten area. However, as things normally go with student life, over 20 different singers from all areas of Dalmatia residing in Zagreb sang with the group over a two year period. In 1998, Kampanel began reducing its membership to accommodate its commercial activities, and through 5-6 years of persistent performances they managed to maintain the spirit which led to the final gathering and creation of a respectful Klapa which is today composed of 7 professional singers. There is not enough space to mention all their past performances, so below we highlight only the most significant performances and awards: Performance at the world EXPO fair in Hanover in 2000 2nd place at the 2002 Split Music Festival for the song ½Fera bez noæi½ 1st place at Zagreb's Easter Fest in 2006 for the song ½Lanterna moje duše½ (Lantern of my soul) Gala concert ½U ime ljubavi½ (In the name of love) which was held in Sarajevo on 2 December 2006. Performance of the ½Karoca gre½ (Wagon goes on) concert in Zagreb on 14 May 2007 27

Klapa series of the Croatian Music Institute, representing Zagreb's Klapas, held traditionally for the past two years The ½Klapa Woodstock½ concert which was held on 22 June 2007. The Klapa performed together with ten of the best Croatian Klapas who have been asserted as groups whose songs are performed alongside accompanying instrumentals The Klapa is also a participant in the Klapa series ½Dobra veèer pismo moja½ (Good evening, my song) at the Lisinski Concert Hall 2007 Split Music Festival entitled ½Split na klapski naèin½ (Split: Klapa style) where old festival hits were performed as Klapa remakes. Over the past two years, the Klapa has been a participant in the Croatian Radio Festival with its own pieces: ½Moja Ana½ (My Ana) and ½Lipa najlipša½ (Beautiful, most beautiful). Currently the Klapa is completing its album which will represent a new vocal instrumental expression defined in its own songs, as well as songs which are remakes of original pop artists from the 1980s.

06.08. srijeda / Wednesday Glazbeno-scenski program / music comedy programme „Me & my cello“ show Rebbeca Carrington & Colin Griffiths-Brown, Velika Britanija / UK Rebecca Carrington, nagraðivana glazbena zabavljaèica koja govori više jezika, i Joe, njezin violonèelo iz 18. stoljeæa, vjerojatno su jedan od najneobiènijih svjetskih dvojaca. Zajedno izvode parodije svega što postoji, od popularne glazbe do opera i džeza te Bollywooda. Za Rebeccu kažu da je Victor Borge 21. stoljeæa! Njezini scenski nastupi na engleskom, francuskom, njemaèkom i talijanskom priskrbili su joj i usporedbu s Eddiejem Izzardom! Kao klasièno obrazovana violonèelistica Rebecca je dobila stipendiju za studij na The Royal Northern College of Music te je potom stekla glazbeni magisterij na sveuèilištu Rice University u Houstonu u SAD-u. Nastupala je s istaknutim orkestrima meðu kojima su Londonski simfonijski orkestar, Londonski filharmonijski orkestar, Kraljevski filharmonijski orkestar, Filharmonijski orkestar, BBC-ov simfonijski orkestar te Mahlerov komorni orkestar. Za vrijeme studija glazbe u SAD-u Rebecca se prvi put okušala na zabavljaèkoj/kabaretskoj sceni. Ubrzo je poèela nastupati po zabavnim klubovima širom SAD-a. U Velikoj Britaniji Rebecca je nastupala u zabavnim televizijskim i radijskim emisijama BBC-a: London live, BBC2, BBC4,BBC Radio2, BBC Radio 3, BBC Radio 4, Channel4, BBC Scotland I LBC. Nakon osvajanja brojnih važnih zabavljaèkih nagrada, ostvarila je nevjerojatan uspjeh u Europi i svijetu, što se vidi iz njezina popisa turneja. Godine 2004. 28

dobila je South East Music Scheme Award što joj je priskrbilo nastupe i pozive na glazbene i zabavljaèke festivale širom Velike Britanije. Nastupila je na brojnim festivalima: u Manchesteru, Guildfordu, Cambridgeu, Canterburyju, Chichesteru te na festivalu Edinburgh Fringe Festival gdje je bila polufinalist Channel 4. Uspjeh njezinih hvaljenih solo nastupa na festivalu Edinburgh Fringe 2004. i 2005. omoguæio joj je turneju po Velikoj Britaniji i nastup na ITV-u (VB) i PARAMOUNT-u, "LIVE AT THE FRINGE", kao i nastupe u Londonu. Rebecca je i nadarena sinkronizatorica, session glazbenica, pjevaèica i prateæi vokal, te je pjevala s raznim džez sastavima i pop izvoðaèima. Snimala je i nastupala s glazbenicima kao što su Aretha Franklin, Paul Macartney, Randy Newman, 4 Hero, Jill Scott, na dodjeli BRIT AWARDS-a 2006. s Kanyeom Westom te na turneji s Davidom Byrneom (bivšim èlanom Talking Headsa). Takoðer je snimala glazbu za filmove "Gospodar prstenova", "Harry Potter", "Hanninbal", "Bande New Yorka" i "Izabranica tame". Njezin šou "Ja i moj violonèelo" emitiran je na austrijskoj, njemaèkoj, francuskoj, švicarskoj i kanadskoj televiziji i radiju. Izdala je i solo album "Me & My Cello" za neovisnu austrijsku diskografsku kuæu Extraplatte. Vrlo dugi popis nagrada i izvedbi u veæini važnih gradova i mjesta širom Europe nalazi se na njezinoj internetskoj stranici

www.rebeccacarrintong.co.uk. Godine 2007. predstavila je nastupajuæi duo CARRINGTON-BROWN u kojemu joj je partner Colin Griffiths-Brown. Kao glumac i pjevaè on je ranije nastupao u kazališnim predstavama i mjuziklima u londonskom West Endu i na gostovanjima, te s kazališnom družinom Royal Shakespeare Company. Deset godina bio je èlan britanske a capella skupine "The Magnets", te je prošle godine postao prateæi vocal Robbieja Williamsa na njegovoj svjetskoj turneji Close Encounters 2006. I Colin je nadaren sinkronizator, a nedavno je posudio glas u televizijskoj reklamnoj kampanji kojom se slavila 30. obljetnica albuma "Exodus" Boba Marleya. Dvojac Carrington-Brown osvojo je 4 zabavljaèke/kabaretske nagrade u Francuskoj:- Prix du Public, Prix d'un Sponsor & Prix Special du Jury, Festival de Rocquencourt, Prix du Public, Festival de Versaille kao i nagradu za najbolji šou sezone Comedy Cluba u njemaèkome Hannoveru. Award winning, multi-lingual, music comedian Rebecca Carrington and Joe her 18th century cello, must be one of the world’s most unusual double-acts. Together they perform spoofs of everything from Pop to Opera and Jazz to Bollywood. She has been described as a Victor Borge of the 21st Century! Performing her show in English, French, German and Italian has also led to comparisons with Eddie Izzard! As a classically trained cellist, Rebecca won a scholarship to study at The Royal Northern College of Music and completed a Masters of Music at Rice University in Houston, USA. She performed in leading orchestras including the London Symphony, London Philharmonic, Royal Philharmonic, Philharmonia , the BBC Symphony Orchestras and the Mahler Chamber Orchestra. It was whilst studying music in the U.S. that Rebecca first became involved in the comedy/cabaret scene. She soon began performing in comedy clubs across the U.S In the UK Rebecca was featured on the TV and radio comedy shows of BBC – London live, BBC2, BBC4,BBC Radio2, BBC Radio 3, BBC Radio 4, Channel4, BBC Scotland and LBC. After winning a lot of important comedy awards, she got incredibly successful in Europe and all over the world, as seen on her tour schedule. In 2004 she won a South East Music Scheme Award, which has led to performances and bookings for Music and Comedy Festivals around the UK. She has performed at numerous festivals, in Manchester, Guildford, Cambridge, Canterbury, Chichester and the Edinburgh Fringe Festival where she was a semi-finalist in the Channel 4. The success of her critically acclaimed Edinburgh Fringe solo shows in 2004 and 2005, led to a UK tour and an appearance on ITV (UK) and PARAMOUNT, "LIVE AT THE FRINGE" as well as to performances in London Rebecca is also a talented voice-over artist, session player, singer and backing vocalist having sung with a variety of jazz bands and pop artists. She has recorded and performed with such artists as Aretha Franklin, Paul Macartney, Randy Newman, 4 Hero, Jill Scott, at THE BRITS 2006 with Kanye West and a tour with David Byrne (ex-Talking Heads). She has also recorded on film soundtracks as "Lord of the Rings", "Harry Potter", "Hanninbal", "Gangs of New York" and "Bless the child". Her show, "Me and My Cello" has been featured on Austrian, German, French, Swiss, and Canadian TV and Radio. 30

She also released her solo album "Me & My Cello" with an independent Austrian record label, Extraplatte. The very long list of awards and performances in most of the important cities and venues all over Europe, can be found on her homepage www.rebeccacarrintong.co.uk. In 2007 she created the double act, CARRINGTON-BROWN, with her partner Colin Griffiths- Brown. As an actor and singer he has previously performed in plays and musicals in London’s West End and on tour and with the Royal Shakespeare Company. He was a member of the UK A Cappella Group, "The Magnets" for 10 years and last year became a backing singer for Robbie Williams on his 2006 Close Encounters World Tour. He is also a talented voice over artist and most recently was the voice for the TV advertising campaign celebrating the 30 year anniversary of the Bob Marley album "Exodus" Together they have won 4 Comedy/Cabaret prizes in France:Prix du Public, Prix d’un Sponsor & Prix Special du Jury, Festival de Rocquencourt, Prix du Public, Festival de Versaille and a prize for the best show of the season in a Comedy Club in Hannover, Germany.

09.08. subota / Saturday Glazbeni program / music programme „Èarolija harmonike“ / “Accordion Magic” Duo Balyk - Rusija / Russia; Gosti / Guests: Duo Veit – Francuska / France VLADIMIR BALYK roðen je 1958. godine u Ukrajini. Studij klasiène harmonike završio je na Državnom konzervatoriju u Lavovu u klasi prof. dr. M. Oberjuhtina, a dirigiranja u klasi prof. dr. I. Wymera. Doktorirao je 1986. godine na Glazbenoj akademiji Gnessin u Moskvi. Dobitnik je niza znaèajnih meðunarodnih nagrada (laureat je jednog od najuglednih Meðunarodnih natjecanja harmonikaša "Vogtländischen Musiktage" Klingenthal-Markneukirchen u Njemaèkoj 1981.). Niz uspješnih nastupa zapoèinje solistièkim koncertom 1977. godine nakon èega je gost brojnih koncertnih pozornica diljem Europe (Rusija, Njemaèka, Francuska, Poljska, Rumunjska, Hrvatska), a istièe se solistièki nastup 1999. u Parizu na koncertu Music for Peace at UNESCO zajedno s najistaknutijim umjetnicima svijeta. Repertoar mu se temelji kako na originalnim skladbama za harmoniku tako i na obradbama djela, pri èemu èesto stavlja težište na razdoblje baroka. Osamdesetih godina programski je usmjeren na teme kao što su "Harmonika u suvremenoj komornoj glazbi", "Orguljaška glazba u transkripciji za harmoniku" (Bach, Händel), "Glazba VI. Zolotarjova", a devedesetih se usredotoèuje na izvoðenje komorne i simfonijske glazbe (Koncertna simfonija br. 1 VI. Zolotarjova, partita 7 rijeci" S. Gubajduline, 5 tango senzacija A. Piazzolle). Osniva razne ansamble s harmonikom, tako je 1993. godine osnovao jedan od vrlo uglednih komornih sastava u Rusiji Trio Nata Bene. S Triom osvaja brojne nagrade kao sto su Grand Prix u Francuskoj, 1. nagrada u Castelfidardu u Italiji i druge, te je nastupao na turnejama u Francuskoj, Švicarskoj, Italiji, Njemaèkoj, Austriji, Slovaèkoj, Nizozemskoj. Godine 1999. Trio snima prvi nosac zvuka za njemaèku izdavaèku kuæu VMA kojeg èasopis Intermusik 31

proglašava CD-om godine. Vladimir Balyk bavi se i skladanjem. Autor je niza skladbi za harmoniku (izdanih u Ukrajini i Njemaèkoj), aranžmana za trio, te transkripcija za harmoniku i komorne ansamble. Autor je niza monografija i èlanaka o problemima metodike i povijesti izvoðaštva na harmonici. Bavi se i pedagoškim radom. Od 1987. do 2000. predavaè je na Državnom konzervatoriju u Astrahanu (Rusija), od 1995. gostujuæi, a od 2000. redovni profesor na Visokoj školi za glazbenu umjetnost "Ino Mirkoviæ" u Lovranu te od 2004. profesor harmonike u Glazbenoj školi I. M. Ronjgov u Puli. 1994. godine V. Balyk dobitnik je naslova Zaslužni umjetnik Rusije, a 1995. proglašen je èovjekom godine u oblasti kulture i umjetnosti u Rusiji. NATAŠA BALYK pripada generaciji izvoðaèa koja se istièe svojom izvanrednom, tehnièki briljantnom i prvoklasnom glazbenom interpretacijom. Izvedbom na domri* daje novi i vrjedniji imidž ovom narodnom ruskom instrumentu. Magistrirala je 1983. godine domru na Državnom konzervatoriju u Astrahanu (Rusija) u klasi prof. J. Noskova, a 1987. godine doktorirala na Državnom konzervatoriju u St. Petersburgu (prof. I. Šitenkov). Bila je docenticom na Glazbenom konzervatoriju u Astrahanu. Nastupala je na mnogim koncertima kao solistica te kao koncert-majstor Astrahanskog filharmonijskog orkestra. Od 1993. stalno nastupa u sastavu ansambla Trio Nata Bene s kojim osvaja brojne meðunarodne nagrade, a od 1998. uèestalo svira sa suprugom Vladimirom diljem Hrvatske te u inozemstvu (Slovenija, BiH, Francuska). U svibnju 2000. god. bila je poèasni gost 5. Festivala mandolinista u Imotskom, gdje je održala solistièki koncert. Od 2001. stalni je èlan ocjenjivaèkog suda festivala "Mandolina Imota", te 2005 god. ukljuèuje se u rad ocjenjivaèkog suda u disciplini tambura na 43. hrvatskog natjecanja uèenika i studenata glazbe i plesa u organizaciji HDGPP-a. Bavi se i pedagoškim radom pa od 1999. godine Nataša Balyk predaje gitaru, mandolinu i tamburicu na Glazbenoj školi Mirkoviæ, a od 2001. profesorica je na Visokoj školi za glazbenu umjetnost «Ino Mirkoviæ» u Lovranu. *Domra - ruski žicani instrument po obliku slièan mandolini, ima kvartni štim kao tambura 32

Gosti koncerta: DUO VEIT (Francuska) Èlanovi DUA VEIT su Gabriel Veit-harmonika dugmetara i Michel Veit-klavirska harmonika. Braæa Veit pripadaju treæem naraštaju glasovite glazbene obitelji u francuskoj pokrajini Elzas. S podjednako ogromnim uspjehom bave se pedagoškim radom i koncertnom djelatnošæu. Gostovali su i poduzimaju znaèajne koncertne turneje u veæini europskih zemalja od Finske do Portugala. Istodobno sudjeluju redovito na svim velikim festivalima gdje uspješno promièu harmonikašku kulturu i interpretativna dostignuæa ovog vrlo popularnog instrumenta u Francuskoj. Osnivaèi su i organizatori èuvene privatne glazbene škole „Veit“, a suorganizatori poznatog francuskog harmonikaškog natjecanja Grand Prix. Gabriel Veit je i glazbeni direktor asocijacije „Accordina“, dugogodišnjeg udruženja harmonikaša u Francusko VLADIMIR BALYK was born in the Ukraine in 1958. He studied classical accordion at the State Conservatory in Lavov under Professor Oberyuhtin, and conducting under Professor Wymer. He received his doctorate in 1986 at the Gnessin Music Academy in Moscow. He is winner of numerous significant international awards (a laureate at one of the most distinguished International accordion competitions, "Vogtländischen Musiktage" Klingenthal-Markneukirchen in Germany in 1981). Following a series of successful performances, he began giving solo performances in 1977 and was a guest on numerous concert stages throughout Europe (Russia, Germany, France, Poland, Romania and Croatia). He excelled in his 1999 solo performance in Paris at the UNESCO Music for Peace concert, together with the most distinguished world artists. His repertoire is based on original compositions for the accordion, in addition to remakes, which most often focus on the Baroque period. In the 1980s, he preferred pieces such as "The accordion in modern chamber music", "Organ music in transcripts for the accordion" (Bach, Händel), and "Music of Zolotaryov". In the 1990s, he focused on performing chamber and symphony music (Concert symphony no.1 by Zolotaryov, in 7 parts by Gubaidullin, 5 tango sensation by Piazzolla). He established various accordion ensembles, and he founded a very distinguished chamber composition in Russia in 1993, known as the Trio Nata Bene. With the trio, he won many awards, including the Grand Prix in France, first prize in Castelfidard, Italy and others, and performed in France, Switzerland, Italy, Germany, Austria, Slovakia, and the Netherlands. In 1999, the Trio recorded their first album which was released by Germany's VMA publishing house, and proclaimed Album of the Year by the Intermusik magazine. Vladimir Balyk is also a composer. He is the author of a series of accordion compositions (released in the Ukraine and Germany), pieces for trio, as well as transcripts for accordions and chamber ensembles. He is the author of a series of monographs and articles on the problems of methodology and history of publishing for the accordion. He is also a professor. From 1987 to 2000, he was a professor at the State Conservatory in Astrakhan (Russia), and from 1995 he was a guest teacher at the Ino Mirkovic Music Academy in Lovran, Croatia, where he became a full time professor in 2000. Since 2004, he has been working as an accordion professor at the Ronjgov Music School in Pula. In 1994, he became one of Russia's Honourable Artists, and in 1995, he was proclaimed Man of the Year in the sphere of culture and art in Russia. 33

NATAŠA BALYK belongs to a generation of performers who stand out because of their extraordinary technical brilliance and first class musical interpretation. Her performance on the domra* projects a new and more valuable image of this Russian national instrument. She received her masters degree in 1983 on the domra* at the State Conservatory in Astrakhan (Russia) under Professor Noskova, and completed her Doctorate in 1987 at the State Conservatory in St. Petersburg under Professor Šitenkov. She was assistant professor at the Music Conservatory in Astrakhan. She performed at many concerts as a solo artist and as a concert maestro at the Astrakhan Philharmonic Orchestra. Since 1993, she has been a permanent performer with the Trio Nata Bene ensemble with whom she has won numerous international awards. Since 1998, she has regularly performed with her husband Vladimir throughout Croatia and other countries (Slovenia, Bosnia and Herzegovina, and France). In May 2000, she was an honorary guest at the 5th Annual Mandolin Festival in Imotski, where she held a solo concert. Since 2001, she has been a permanent member of the evaluation committee at the Mandolina Imota Festival, and in 2005, she became a judge in the tamburitza discipline at the 43rd Croatian competition for students of music and dance, organized by the Croatian Society for Music and Dance Professors (HDGPP). Since 1999, Nataša Balyk has also been a professor of guitar, mandolin and tamburitza at the Mirkoviæ Music School, and since 2001 she has been a professor at the Ino Mirkovic Music Academy in Lovran. *domra - a Russian string instrument similar to the mandolin, but with four strings like a tamburitza Concert guests: DUO VEIT (France) Other members of DUO VEIT are Gabriel Veit, diatonic accordion, and Michel Veit, piano accordion. The Veit brothers belong to the third generation of a well-known musical family in the French region of Alsace.They teach and perform at concerts with equal success. They have given guest performances and concerts in most European countries, from Finland to Portugal. Meanwhile, they are regular participants in all large festivals, where they successfully promote the accordion culture and the interpretive achievements of this very popular instrument in France. They are the founders and organizers of the famed Veit Private Music School, and co-organizers of the well-known French Grand Prix accordion competition. Gabriel Veit is music director of the Accordina Association, a long-time organization of accordion players in France.

17.08. nedjelja / Sunday 6. Vela umjetnièka radionica / 6th Art's workshop

29.08. petak / Friday 4. Festival Èakavske šansone „Èansonfest“ Kastav 4th Festival of Chakavian Chansons, Kastav Udruga Kanat – Kastav u suradnji s udrugom Kastafsko kulturno leto veæ èetvrtu godinu za redom vrlo uspješno organizira Festival èakavske šansone, koji usmjeren k oèuvanju i unapreðenju èakavštine. Dosadašnji uspjeh Festivala, njegov pozitivan odjek, oduševljenje koje je izazvao, kako meðu publikom tako i meðu svim glazbenicima izvoðaèima te autorima èakavske šansone, opravdali su potrebu organizacije ovakvog specijaliziranog festivala usmjerenog k oèuvanju èakavske besede izražene kroz glazbu. 4. Festival èakavske šansone ÈAnsonfest – Kastav 2008. i ove æe se godine održati, kao i svih proteklih godina do sada, na zatvaranju 17. Kastafskega kulturnega leta i to 29. kolovoza. Kao i u svom treæem izdanju, 4. ÈAnsonfest æe imati produkcijski i natjecateljski karakter, jer æe poraditi na poticanju i stvaranju novih skladbi. Najbolje skladbe pristigle na Natjeèaj 4. ÈAnsonfesta borit æe se za nagrade ovogodišnjeg Festivala, koje su ujedno i novèane: Nagrada za najbolji tekst, Nagrada za najbolju skladbu – ÈAnsonu, Nagrada za najbolju interpretaciju i Nagrada publike. Znaèajnu potvrdu kvalitete Festivala nedavno je dala i Hrvatska radio televizija emitirajuæi cjelokupnu snimku prošlogodišnjeg 3. ÈAnsonfesta – Kastav 2007. veæ nekoliko puta u veèernjem terminu na 2. programu HTV-a. For the fourth year running, the Kanat–Kastav Association in cooperation with the Kastav Cultural Summer Festival Association have successfully organized the Festival of Chakavian Chansons, aimed at preserving and nurturing Chakavian tradition. The previous success of the festival, its positive response, and the delight it caused both in the public and among performers and authors of Chakavian chansons justified the necessary organization of such a specialized festival directed at preserving Chakavian beseda (dialect) expressed through music. As in previous years, the 4th Festival of Chakavian chansons, ÈAnsonfest – Kastav 2008, will be held at the closing of the 17th Kastav Cultural Summer Festival on 29 August. As was the case with the third festival, the 4th ÈAnsonfest will have both a production and competitive character, because it will deal with promoting and creating new compositions. The best compositions performed at the 4th ÈAnsonfest will compete for this year's Festival awards: Best Text Award, Best Composition Award – ÈAnson, Award for the Best Interpretation, and the Public Choice Award. A significant confirmation of quality of the Festival was recently given by Croatia Radio Television after broadcasting the entire recording of last year's 3rd ÈAnsonfest – Kastav 2007 several times during the evening television slot on HTV's channel two.

izlo탑beni program exhibit program

IZLOŽBENO-GALERIJSKI PROGRAM 2008. / GALLERY EXHIBITION PROGRAM 2008 GALERIJA CRKVICE SV. TROJICE / HOLY TRINITY CHAPEL GALLERY O GALERIJSKOM PROSTORU CRKVICE SV.TROJICE U KASTVU INFORMATION ON KASTAV'S HOLY TRINITY CHAPEL GALLERY Mala dvoranska crkvica Sv.Trojice na Trgu Lokvina u Kastvu iz 15. je stoljeæa i zaštiæeni je spomenik kulture . Unutrašnjost, u èijem svetištu se nalaze freske sa starim glagoljskim natpisima, pokazala se za suvremene umjetnike svih medija zaèudno inspirativnim - ali i zahtjevnim izložbenim prostorom. I upravo zato ovaj prostor veæini je današnjih umjetnika veliki izlagaèki izazov. Kao galerijski prostor crkvica se koristi veæ desetak godina, a od 2005. godine organizirano i programski profilirano, sa selektiranim autorima i profesionalnom kustoskom obradom. Veæina izložbenog programa odvija se u vrijeme održavanja manifestacije „Kastafskog kultunog leta“ (od lipnja do kraja kolovoza), ali obuhvaæa i termine važne za Grad Kastav: Dan Sv.Jelene Križarice (Jelenina) i Dan Grada Kastva. Prostor je opremljen standardnom galerijskom opremom i reflektorskom rasvjetom, ima tehnièku ekipu i èuvarsku službu, a radno vrijeme je, u vrijeme trajanja izložbe, svaki dan od 10 do 12 i od 18 do 21 sat. Od 2008. godine Galerija crkvice Sv. Trojice uvrštena je na popis službenih galerijskih prostora Republike Hrvatske. Njezin program odvija se u organizaciji udruge „Kastafsko kulturno leto“. Djelatnost i program financirani su od Grada Kastva, a sufinancirani od Ministarstva kulture Republike Hrvatske i Primorsko – goranske županije. Dio izložbenog programa financijski je pomognut i od Turistièke zajednice Grada Kastva. The small Holy Trinity Chapel on Lokvina Square in Kastav dates back to the 15th century and is a cultural monument. The interior, comprised of a sanctuary of frescoes with old Glagolitic writing, has proven to be an astonishing inspiration and demanding exhibit space for modern artists of all trades. That is the reason why this gallery is a great challenge as an exhibit space for most of today's artists. The chapel's gallery has been used as a gallery space for more than a decade (since 1995), and has profiled itself for exhibits since 2005 with its program of selected authors and professional curators. Most exhibition programs take place during the Kastav Cultural Summer manifestation (from June to the end of August), and covers all dates which are important for the city of Kastav: St. Helena and Kastav Town Day. The exhibit space is equipped with standard gallery equipment and reflectors, as well as technical staff and security services, and working hours during exhibits is daily from 10 a.m. to noon and 6 to 9 p.m. From 2008, the Holy Trinity Chapel Gallery was included on the list of official galleries in the Republic of Croatia. Its program proceeds under the organization of the Kastav Cultural Summer Association. The activities and program is financed by the Town of Kastav, while co-financing is provided by the Ministry of Culture of the Republic of Croatia and Primorje-Gorski Kotar County. Part of the exhibition program is financially assisted by the Kastav Tourist Board. 37

Umjetnièki savjet Galerije crkvice Sv.Trojice, Kastav / Art Council of the Holy Trinity Chapel Gallery, Kastav Višnja Slavica Gabout, voditeljica programa galerije / gallery program director Ervin Dubroviæ Ksenija Orelj

Izložbeni program 2008. / Exhibit program 2008 BRUNO PALADIN IGOR GUSTINI LADISLAV ŠOŠTERIÆ NENAD VORIH MILJENKA ŠEPIÆ ALEN ŠIMOKOVIÆ

Izvršna ravnateljica Kastafskog kulturnog leta / Production director of the Kastav Cultural Summer manifestation: Ines Greblo Autorica tekstova u katalogu i kustosica izložaba / Texts in the catalogue and the exhibit program curator: Višnja Slavica Gabout

22.05. – 02.06.2008. BRUNO PALADIN „Slovarij magiènog atelijera“ / “Vocabulary of the Magical Atelier” slike, objekti, instalacije / paintings, objects, installations Bruno Paladin roðen je 1951. u Rijeci. Javno umjetnièki djeluje od 1976. – kao slikar, grafièar, ilustrator i scenograf, ali i dizajner i oblikovatelj lutaka i maski. Vizualni je on umjetnik po vokaciji i svu svoju kreativnu energiju usmjerava na stvaralaèki èin, što veæ dugi niz godina rezultira likovnim ostvarenjima koja uvijek plijene pozornost kako ljubitelja, tako i poznavatelja umjetnosti. Do danas je poriredio preko 50 samostalnih, te sudjelovao na oko 350 eminentnih skupnih izložaba u Hrvatskoj i u inozemstvu. Dobitnik je brojnih nagrada i priznanja, što mu je osiguralo mjesto u likovnim enciklopedijama i brojnim pregledima suvremenoga likovnoga stvaralaštva. Djela mu se nalaze u mnogobrojnim zbirkama hrvatskih i svjetskih galerija i muzeja suvremene umjetnosti. O njemu su pisali istaknuti autori domaæe i inozemne likovne scene. Èlan je HDLU Rijeke, HDLU Zagreba i Hrvatske zajednice samostalnih umjetnika. Bruno Paladin was born in Rijeka in 1951. He has been an artist since 1976, as a painter, graphic artist, illustrator and scenographer, as well as a designer and creator of dolls and masks. He is a visual artist by vocation and he directs all his energy towards creative work, which has, over the years, resulted in the development of artistic masterpieces, which grasp the attention of admirers and art connoisseurs. To date, he has held 50 solo exhibits, and has participated in approximately 350 eminent group exhibits both in Croatia and internationally. He has received many awards and recognitions, securing his place in art encyclopaedias and numerous reviews on modern artistic creation. His works of art are included in numerous collections in Croatian and foreign galleries and modern art museums. Distinguished national and international authors on art have written about him. He is a member of the Croatian Association of Artists of Rijeka and Zagreb, as well as of the Croatian Freelance Artists´Association. Adresa i kontakt / Address and contact information: stan / Home address: Tizianova 24, 51000 Rijeka atelijer / atelier: Bože Milanoviæa, 51000 Rijeka tel/fax: ++385 (0)51 511 512 GSM: ++ 385 (0)91 56 34 698

Bruno Paladin, iz ciklusa ZAPISI NOVE BABILONIJE, 2005, dio triptiha / from the cycle “Documents of New Babylon“, 2005, part of the triptych 40

U ovih više od tri desetljeæa profesionalnoga bavljenja likovnom umjetnošæu, Bruno Paladin - umjetnik neobiène vizualne znatiželje, te velike kreativne i radne energije, ali i neiscrpnoga vitalizma, stalno je spreman na likovna istraživanja i na likovne akcije. I on njima uvijek iznova, svaki put na novi naèin, aktivira naše senzore, razbuðujuæi nam doživljaje i uvodeæi nas u neka nova vizualna iskustva. Svoja istraživanja uvijek podvodi pod cikluse, a cikluse zaokružuje unutar poetskomisaonih naziva, pa se èini da je tu sve strogo organizirano. Na neki naèin i jest, jer sve ipak polazi od likovnoga vokabulara. Ali je sve ipak uronjeno u misaono-poetske prostore, pa se njegova djela razvijaju i išèitavaju višeslojno, u nekoliko pravaca i na nekoliko razina. Jer s jedne strane on ih znaèenjski zahvaæa spuštajuæi sonde u dubinu - do iskona; ili usmjeravajuæi ih u nemjerljivu, bezvremensku daljinu – u našim mjerilima apstraktne, oduhovljene toèke svemira. S druge strane, svoj slikarski slog on razvija u širinu, inventivno preskaèuæi granice, spajajuæi medije, nudeæi svaki puta mnogovrsnost materijala i tehnika, pa time uvijek i sve veæe bogatstvo vizualno-taktilnih senzacija. Nudeæi uvijek i ulazak u svijet novih percepcija. Njemu veæ odavno nije više dovoljno izražavati se iskljuèivo dvodimenzionalno ili trodimenzionalno. Èisto slikarski ili èisto kiparski. Više on ne raèuna samo sa zidom kao jedinom prostornom kategorijom – ili tek s pukim èinom odskoka od njega. Kao što ova instalacija pokazuje, njemu sad treba zajedništvo i zida i cjelokupnoga prostora, kako bi ono u svoju èudesnu unutranju dinamiku uvuklo volumene/objekte višeslojnih memorija (koji su autorski oblikovani, ali i od pronaðenih predmeta konstruirani), pa da se „zavrte“ u vizualnoj igri koja je nalik magiènoj igri nekog virtualnog atelijera. I da se sve onda, u suglasju s medijem svjetla, poène mijenjati i percepcijski kliziti unutar prostorno –vremenske kategorije. Razlièiti materijali, svaki svojih posebnih karakteristika, unose pritom u novonastale sinergije svoje posebne prièe. Ali u toj prividnoj kakofoniji oni istodobno i nekako neobièno skladno „razgovaraju“, vezujuæi se jedni s drugima „s razumijevanjem“: staklo s drvom i drvo s metalom; odnosno hrapavo sa sjajnim, neprozirno s transparentnim, tamno sa svijetlim, crno s bijelim, svjetlo s tamom... Nitko nikoga ne potire i ne smeta i svatko svakoga tu uvažava, pa se sve najposlije doznaèuje kao osmišljena cjelina, namišljena da funkcionira kompaktno i ujednaèeno. Da funkcionira kao sugestivna ambijentalna multimedijska instalacija koja, ne bez razloga, nosi naziv „Slovarij magiènog atelijera“. Jer glavni akteri u cijelome ovome vizualnome dogaðanju su slova, koja se Paladinovim opusom provlaèe veæ dugi niz godina, da bi u ciklusu „Zapisi nove Babilonije“ ona postala vodeæom temom. Nastavilo se to i ovdje, u ovoj instalaciji. Nizovi slovèanih simbola, izvedeni u raznim tehnikama i materijalima, posloženi su tu na slikama i objektima ne zbog svoje osnovne funkcije, nego zbog svoje vizualne ljepote. Ne zbog èitanja, nego zbog gledanja. Tvoreæi tako ne zajedništva suvislih rijeèi, nego individualne posebnosti oblikovnih realnosti po sebi, pune asocijacija i metafora. Oformljujuæi tako svojevrsni vizualni „slovarij“ i pretvarajuæi ga u poetski likovni zapis pun vizualnih užitaka. Zapis koji na neki naèin nosi simboliku i arhajskoga i ovovremenoga; iskonskoga i suvremenoga, ali koji uvijek snažno zraèi vizualnom energijom – onom same svoje forme, strukture, materije i boje.

Bruno Paladin, iz ciklusa ZAPISI NOVE BABILONIJE, 2005, detalj instalacije / from the cycle “Documents of New Babylon“, 2005, part of the installation 42

In over thirty years of professional involvement in the fine arts, Bruno Paladin — an artist of uncommon visual curiosity, creativity and energy, but also inexhaustible vitality, is always ready for artistic challenges and activities. He constantly reactivates our sensors, sharpens our awareness and introduces us to new visual experiences. His explorations are always part of cycles with poetic-imaginative titles and, therefore, it seems that everything is strictly organized. In some way it is, because everything comes from the artistic vocabulary. However, everything is nonetheless submerged in a conceptual-poetic space, so that his work develops and is read on multiple levels and directions. From the one side, he semantically captures them, lowering his sensors into the depths — to the primordial; or aiming them at immeasurable, timeless distance —abstract, spiritual points of the universe, according to our measures. From the other side, he develops his broad, artistic style, inventively surmounting boundaries, linking media, always offering several types of materials and techniques, always with an ever greater wealth of visual-tactile sensations, always offering admission to the world of new perceptions. For a long time, it has not been enough for him to express himself exclusively two-dimensionally or three-dimensionally, purely as a painter or purely as a sculptor. He no longer counts on a wall as the only spatial category — or even the simple act of recoiling from it. As this installation demonstrates, he now needs the unity of the wall and the entire space in order to draw volumes/objects of multiple layers of memories (which are shaped by the author, but also constructed from found objects) for his miraculous inner dynamics, in order to “spin” in a visual game that resembles a magical game of a virtual atelier. For all this, in harmony with the medium of light, begins to change and perceptually slide within space-time categories. Various materials, each with its own special characteristics, introduce the new synergy of their own particular stories. However, in this apparent cacophony, they converse with each other at the same time in an unusual harmony, connecting to each other with “understanding“: glass with wood and wood with metal; i.e. rough with shiny, opaque with transparent, dark with light, black with white, light with dark etc. None cancels or disturbs another and each enjoys each other here, so that everything is ultimately presented as a meaningful whole, intended to function compactly and uniformly, to function as a suggestive, multimedia ambient installation that, not without reason, is entitled “The Vocabulary of a Magical Atelier.“ The main actors in this whole visual event are letters, which have been woven into Paladin's opus for many years, so that in the cycle “Documents of New Babylon,“ they become the leading theme, as here, in this installation. Series of letter symbols, executed in various techniques and materials, are not arranged here on pictures and objects for their basic function but for their visual beauty, not for reading but for looking. Thereby, they create not an association of meaningful words but the individual specificities of the formed realities in themselves, rich in associations and metaphors, thereby creating a type of visual vocabulary and transforming it into a poetic artistic document full of visual pleasures. A document which in its way conveys the symbols of the archaic, as well as of the contemporary; of primordial, as well as of modern, but always powerfully radiating the visual energy of its form, structure, material and color.

03.06. – 20.06.2008. IGOR GUSTINI „Geometrijski kôd“ / “Geometric code” slike/kolaži (kombinirana tehnika: tekstil, ulje na platnu, pronaðeni materijali) paintings/collages (combined techniques: textile, oil on canvas, and discovered materials) Igor Gustini roðen je 1969. u Firenci (Italija). Maturirao je 1987. na Državnoj umjetnièkoj gimnaziji u Padovi. Diplomirao je 1993. na Akademiji likovnih umjetnosti u Veneciji (smjer slikarstvo), s disertacijom o slikaru Celestinu Medoviæu. Godine 1991/1992. bio je dobitnik Prve nagrade Opæine Vicenza za plakat Grada Vicenze, a godine 1997. dobitnik Prve nagrade mladih umjetnika Regije Veneto, Grad Cittadella (Padova). Samostalno izlaže od 1995. i do sada je održao dvadesetak samostalnih izložaba (Italija, Hrvatska, BiH), te sudjelovao na šezdesetak skupnih – kako u Italiji i Hrvatskoj, tako i u mnogim drugim zemljama Europe. Ali isto tako i u Egiptu, Južnoafrièkoj Republici i Kanadi. O njemu su do sada pisali i njegovo djelo pratili naši eminentni likovni kritièari i povjesnièari umjetnosti zagrebaèkoga, rijeèkoga i pulskoga podruèja. Radovi mu se nalaze u stalnome postavu javnih ustanova u Italiji, Hrvatskoj i Sloveniji, te u fundusima muzeja i galerija. Igor Gustini èlan je HDLU Istre, HDLU Zagreba i Hrvatske zajednice samostalnih umjetnika. Živi u Vicenzi (Italija). Igor Gustini was born in 1969 in Florence, Italy. He graduated from high school in 1987 at the State Art School in Padua. He graduated in 1993 from the Academy of Arts in Venice where his major was painting, with his final graduate project was dedicated to painter Celestine Medovic. In the academic year 1991/1992, he received the Vincenza County first prize for his poster for the City of Vinceza, and in 1997 he received the First prize for Young Artists issued by the city of Cittadella (Padua) in the Veneto region. He has held some 20 solo exhibits since 1995 (in Italy, Croatia, and Bosnia and Herzegovina), and has participated in 60 group exhibits both in Italy and Croatia, as well as in many other European countries. He has also participated in exhibits in Egypt, South Africa and Canada. His works have been the topic of eminent Croatian art critics and art historians for the Zagreb, Rijeka and Pula regions. His pieces are permanently exhibited in public institutions in Italy, Croatia and Slovenia, as well as in museums and galleries. Igor Gustini is a member of the Croatian Association of Artists of Istria and Zagreb, as well as of the Croatian Freelance Artists´Association. He lives in Vicenza, Italy.

Adresa i kontakt / Address and contact information: Via Chioare 13, 36100 Vicenza, Italia IT tel./faks: ++39 (0) 444 544 920, IT GSM: ++39 34 77 41 7804 HR GSM: ++385 (0)98 992 40 80 e-mail: itenit@libero.it web: www.igor.gustini.net Igor Gustini privukao je pozornost publike i kritike još prije nekoliko godina svojim tekstilnim kolažima, koje stvara od pronaðenih i odbaèenih raznobojnih „krpica“ (èesto od „otpadnih krpa“ kolega slikara, što daje važnost konceptu „sluèajne mrlje“ i onome „kontinuiteta dogaðanja“ kroz nekoliko razlièitih vremena). Efekt pravilno geometrijski „skrojenih“ „tekstilija“, nalijepljenih na platno po jednome promišljenome vizualnom sistemu (ali isto tako i po promišljenome prostornom sistemu, jer tekstil je „ugužvan“ i time „oprostoren“), stvara u oku koloristièki efekt gotovo identièan onome geometrijskih obojenih površina dobro nam poznat iz djela geometrijske apstrakcije. Ovdje, meðutim, uveden je uz to i prostorno-haptièki efekt kolaža - i to tekstilnoga, s karakteristiènom kategorijom teksture materijala i strukture njegove površine, pa ovi radovi Igora Gustinija uz optièku imaju i naglašenu tvarnu kvalitetu. Djelujuæi svojom vizualnom, ali i prostorno – vremenskom dimenzijom. Ono što na prvi pogled tu plijeni pozornost je strogo organizirani vizualni poredak, utemeljen na znalaèkim i discipliniranim odnosima boja, na klasièno uravnoteženoj kompoziciji i na organiziranim dinamièkim odnosima unutar kadra slike. Iskustva su to koja vuku svoje korijene iz velikih stilova moderne umjetnosti 20. stoljeæa – iz geometrijske i lirske apstrakcije. Gustini, meðutim, tu dodaje i enformelovska iskustva geste, nastala u njega kod završnoga doslikavanja uljem (nekad kistom, a nekad drippingom), dok kolaž, premda u današnjoj umjetnosti on nije nov, ovdje funkcionira kao medij stalnoga istraživanja odnosa pikturalnoga i taktilnoga; strukturalnoga i materièkoga; zbiljskoga i iluzivnoga. Autor njime stalno tu aktivira, preko gotovo svih naših senzora, cijeli niz dodatnih asocijacija i vizualno-emotivnih doživljaja, jer kolaž može svemu dati zaèudnu, dvostruku dimenziju: dodirljivoga i nedodirljivoga; stvarnoga i nestvarnoga; prostorno odreðenoga i onoga „pomaknutoga“; vremenski bliskoga i neodredljivoga. A najèešæe svakodnevno i banalno u novome suglasju pretvara u novo i èudesno. U Gustinijevim tekstilnim kolažima to je posebno vidljivo. Realnost se tu kontinuirano „urušava“, pa se zbilja, premda opipljiva, stalno pretvara u apstrakciju – ali geometrijski kôdiranu i discipliniranu. Pritom je i boja, koja naizgled ima apsolutnu slobodu (ali i svoj dodatni samostalni život kao materija i kao tekstilni materijal), stavljena pod kontrolu autora, jer Gustini ovdje prostor slike sagledava iz razlièitih oèišta. Ali ih onda meðusobno usuglašava i disciplinira, nudeæi pritom „geometrijski kôd“ kao naèin pristupa i kljuè išèitavanja radova. Navodeæi nas tako da svoju percepciju temeljimo na analitièkoj opservaciji, sistematiziranoj unutar èvrste, proèišæene strukture 45

Igor Gustini, „CRASH“, 2007, kolaž na platnu / „CRASH“, 2007, collage on canvas 46

kompozicijskog rastera – ali kroz koju istodobno profinjeno provlaèi i jednu dinamièku situaciju napetoga odnosa izmeðu vizualnoga i haptièkoga; izmeðu iluzije i opipa. Kolaž – to èarobno «slikanje škarama» (kako je to još Matisse nazvao), odavno je fascinantan umjetnicima. Lièi na igru – a zahtijeva silnu koncentraciju. Kolažima Igor Gustini pomoæu isjeèaka preuzetih iz poznate stvarnosti – iz pronaðenoga materijala (ili odbaèenoga materijala) kreira novu zbilju i novu predmetnost. Pritom on pokazuje poseban interes za arhitektoniku slike, gradeæi uvijek èvrstu geometrijsku strukturu i èvrstu kompoziciju, ali isto tako i delikatno nameæuæi dvojnost izbalansirane jednostavnosti i zgusnute ekspresivnosti kao osnovni dojam. Igor Gustini attracted the attention of the public and critics several years ago with his textile collages, which he creates from discarded and found “rags” of various colors (frequently discarded painting rags from his colleagues, which imparts significance to the concepts of “chance spots” and “the continuity of events”). The effect of the regularly geometrically “tailored” “textiles,” glued to the canvas according to a reasoned visual system (but also according to a rational spatial system, because textile is “wrinkled” and thereby “spatial”), creates a coloristic effect nearly identical to that of the geometrically painted surfaces that are well-known to us from works of geometric abstraction. Here, nonetheless, in addition to the spatial-haptic effect of the collage — which is textile, with the characteristic category of the texture of the material and the structure of its surface, these works by Igor Gustini, in addition to their optical quality, have a marked quality, acting with their visual but also spatial — temporal dimensions. That which at first glance captures attention is the strictly organized visual order, based upon the masterful and disciplined relations of colors, in the classically balanced composition and the organized dynamic relations within the frame of the picture. These are experiences which draw their roots from the great styles of 20th century modern art — from geometric and lyrical abstraction. Gustini, however, adds the informel experience of gesture here, that occurs with the final painting with oils (sometimes with a brush and sometimes dripping), while the collage, although in today's art it is not new, functions here as a medium of constant exploration of the relations of the pictorial and the tactile; the structural and the material; the actual and the illusionary. The author constantly activates them here, via nearly all our sensors, an entire series of additional associations and visual-emotional events, because a collage can give everything an amazing two-dimensionality: touchable and untouchable; actual and unreal; spatially determined and that which has “shifted”; temporally close and indeterminate. Most often the daily and banal are transformed into the new and miraculous in a new harmony. In Gustini's textile collages, this is particularly evident. Reality here is continuously “imploded,” so that reality, although tangible, is constantly transformed into abstraction — but geometrically coded and disciplined. In addition, there is also color, which ostensibly has absolute freedom (but also its added independent life as matter and as a textile material), placed under the control of the author, because Gustini perceives the space of 47

Igor Gustini, „CBP“, 2005, kolaž na platnu / „CBP“, 2005, collage on canvas 48

the picture from various vantage points. However, he then mutually harmonizes and disciplines them, providing a “geometric code” as a manner of access and a key to reading the works. Leading us thus to his perception based upon analytical observation, systematized within the solid, purified structure of the compositional raster — but also through which a dynamic situation of a tense relationship between the visual and haptic, between illusion and touch weaves simultaneously. Collage – that enchanting “painting with scissors” (as Matisse called it), has long fascinated artists. It seems like play — and requires great concentration. The collages of Igor Gustini with the help of snippets taken from known realities — taken from found material (or discarded material), create a new reality. Moreover, he shows particular interest in the architecture of the painting, always building a solid geometric structure and solid composition, while at the same time delicately imposing the duality of balanced simplicity and concentrated expressivity as the basic impression.

01.07. – 14.07.2008. LADISLAV ŠOŠTERIÆ „Vizije i sjeæanja“ / “Visions and recollections” slike, ulja na platnu / paintings, oil on canvas Ladislav Šošteriæ roðen je 1933. u Šaršonima, kraj Kastva. Diplomirao je na Školi za primijenjenu umjetnost u Zagrebu 1956. Nakon toga neko je vrijeme radio na školi kao likovni pedagog, a onda punih 20 godina kao scenograf u rijeèkome HNK-u. Po primanju u Zajednicu umjetnika Hrvatske (ZUH), dobio je status samostalnoga umjetnika. Šošteriæ skupno izlaže od 1961, a samostalno od 1966. Znan je po figurativnome slikarskom izrièaju nadrealistièkog usmjerenja, kao i njegovim varijantama: fantastiènom i magiènom realizmu, metafizièkom slikarstvu i hiperrealizmu. Teme su mu alegorijske i simbolièke, ponajviše vezane uz zavièajnu motiviku. U gotovo pet desetljeæa svoga javnoga umjetnièkoga djelovanja priredio je 23 samostalne izložbe, ponajviše u Rijeci i Opatiji (Pomorski i povijesni muzej, Trsatska gradina, Galerija Jadroagent, Galerija Juraj Kloviæ, Umjetnièki paviljon Juraj Šporer), te u Kastvu (Galerija Vincent), a uz to je sudjelovao na preko stotinu skupnih izložaba u zemlji i inozemstvu (Biennale mladih, Plavi salon, Zagrebaèki salon, Poreèki annale, „Nadrealizam i hrvatska likovna umjetnost“, „Nadrealizam – nova figuracija“, „Novi historicizam“, Biennale slika malog formata). Jedan je od osnivaèa „Rijeèke grupe“ slikara, koja je djelovala šezdesetih godina prošloga stoljeæa u Rijeci, kao i grupe „Rijeèki atelje 74“ (sedamdesete godine prošloga stoljeæa). Dobitnik je brojnih nagrada i priznanja (1978. Nagrada grada Rijeke za slikarstvo, 1986. Priznanje HDLU Rijeke). Uvršten je u „Antologiju hrvatske fantastiène proze i slikarstva“(Zagreb, 1975.) i u Enciklopediju hrvatske umjetnosti (Zagreb, 1995/96.). Radovi mu se 49

nalaze u brojnim javnim i privatnim zbirkama u Hrvatskoj, Sloveniji, BiH, Srbiji, Italiji, Francuskoj, Njemaèkoj, Švicarskoj, Švedskoj, SAD i Kanadi, te u fundusu rijeèkoga Muzeja moderne i suvremene umjetnosti. Bio je èlan rijeèkoga HDLU-a od 1968. Živi na podruèju Kastva. Ladislav Šošteric was born on 1933 in Šaršoni, near Kastav. He graduated from the School of Applied Arts in Zagreb in 1956.Afterwards, he was employed as an art teacher, and later moved on to become a scenographer at Rijeka's National Theatre where he worked for 20 years. When he became the member of the Croatian Freelance Artists´Association (ZUH), he received the status of an independent artist. Šošteric has participated in group exhibits since 1961, and has held solo exhibits since 1966. He is known for his figurative paintings with surrealist expressions, as well as their variations: fantastic and magical realism, metaphysical painting and hyperrealism. His topics are allegorical and symbolic, mainly related to his native motives. In nearly five decades of his artistic work, he has held 23 solo exhibits, mainly in Rijeka and Opatija (Maritime and Historic Museum, Trsat fortress, Jadroagent Gallery, Juraj Klovic Gallery, Juraj Šporer Art Pavilion), as well as in Kastav (Vincent Gallery), and he has participated in over 100 group exhibits in Croatia and internationally (Youth Biennale, Plavi Salon (Blue Salon), Zagreb Salon, Poreè annale, ½Surrealism and Croatian art history½, ½Surrealism – new figuration½, ½New historicism½, Biennale of small format pictures). He was also one of the founders of the ½Rijeka group½ painters, who were active in the 1960's in Rijeka, as well as the group ½Rijeka Atelier 74½ (in the 1970's). He received many awards and recognition (1978 Award from the City of Rijeka for painting, 1986: HDLU Rijeka Recognition). He was included in the ½Anthology of Croatian fantastic prose and paintings½ (Zagreb, 1975) and the Encyclopaedia of Croatian Art (Zagreb, 1995/96). His works are found in numerous public and private collections in Croatia, Slovenia, Bosnia and Herzegovina, Serbia, Italy, France, Germany, Switzerland, Sweden, United States of America and Canada, as well as in Rijeka's Music of Modern Art. He has been a member of Rijeka's HDLU since 1968. He lives in Kastav. Adresa i kontakt / Address and contact information: Rubeši 191, 51215 Kastav tel: ++385 (0)51 22 33 56 Slikarstvo Ladislava Šošteriæa èudesan je spoj elemenata metafizièkog, magiènog i nadrealnog. Odnjegovano na figuraciji i uz nju èvrsto priljubljeno, ono se meðutim s njezinom realnošæu intrigantno poigrava, stalno pomièuæi i zamuæujuæi granicu spoznaje izmeðu sna i jave, izmeðu sadašnjosti i prošlosti, svijesti i podsvijesti, stvarnoga i prividnoga. Ipak, motivi su tu klasièni – i na prvi pogled se èine realni: vedute, mrtve prirode i krajolici. Ali onda se pojave neki izmišljeni 50

Ladislav Šošteriæ, iz ciklusa „RUŽA VJETROVA“, ulje na platnu / from the cycle „WIND ROSE“, oil on canvas 51

ambijenti i mitološke scene, pa se sve okrene fantaziji, premještajuæi se iz podruèja logièkog i stvarnog u podruèje alogièkog i nestvarnog. Pred gledateljem kao da se rastvore prizori poput onih na kazališnoj pozornici, s nekom mistikom prostora i usporenošæu vremena. Vremena èiji je ritam podešen drukèije, pa unutrašnji životni sat polako i melankolièno otkucava u tišini. Tako, premda se sve na prvi pogled èini opipljivim i prepoznatljivim – sve je nekako drugaèije. Sve je snovito i magièno, jer je gledano iz drugoga, „pomaknutoga“ kuta. I gledano je nekim pogledom udaljenim od stvarnosti. Pogledom poetskoga nadrealizma i osebujnoga magiènoga realizma, koji transformira viðeno i doživljeno u nestvarno i irealno. Èudesne su Šošteriæeve slike. U njih je pozvana zbilja, ali se u njima nastanila i iluzija. U tim slikama se naizgled zrcali stvarnost koja okružuje autora – ali samo naizgled, jer su one odraz njegove intime; njegove unutrašnjosti i emocija. Zato u svojim slikama Šošteriæ gradi prostore i odbrojava vremena po nekim samo sebi znanim zakonitostima, a elemente vidljivoga svijeta kombinira i interpretira na svoj naèin. Gotovo je uobièajeno da u njega uvijek neki detalj „poremeti“ logiku dogaðanja, pa se znaèenje „ukosi“ i usloji aluzijama, simbolikom i asocijacijama. A kad je rijeè o detalju, valja tu naglasiti izuzetno Šošteriæevo metjersko majstorstvo i njegovu težnju prema zanatskoj perfekciji, pri èemu mu je jednako važna i cjelina i svi njezini i najmanji dijelovi. On svoje slike gradi tako da brižljivo i minuciozno razraðuje svaku pojedinost, islikavajuæi je profinjenim, prigušenim, utamnjenim tonskim suglasjima. Zbog toga je njegova ruka disciplinirana, kompozicija strogo artikulirana, a izvedba maksimalno likovno proèišæena i kultivirana. Likovna kritika je veæ odavno zamijetila kako „porijeklo Šošteriæeve umjetnosti treba tražiti u njegovoj okolini (svojevrsnoj stopljenosti s krajem) i u njegovoj velikoj ljubavi prema starim majstorima“, koji su mu cijeloga života bili velikim uzorom. Zamijetila je odavno i važnost koju pridaje svakoj etapi svoga slikarskoga posla i svakome detalju: brižljivome odabiru motiva, te njegovoj pažljivoj razradi, promišljenom odabiru tonova boja, kao i efektima svjetla na njima. Jer Šošteriæu je važno što slika - i kako slika. Ono što mu nije važno je izgleda li taj njegov klasièno izbrušeni likovni jezik nekome arhaièno ili ne. Svoga izrièaja i svoga pristupa on se uporno drži cijeloga života, stvarajuæi u intimi svoga atelijera slikarstvo danas potpuno izmaknuto iz svih avangardnih tokova. Stvarajuæi vjeèno zadubljen u svoja chiaroscura, svoje prigušene tonove, svoje iluzionistièke prostorne prodore i svoje poetsko-fantastiène prièe. I baš previše ne brinuæi o tome je li „u trendu“, ili ne. Štoviše, sam govoreæi kako „to što on slika više nije moderno i kritiku ne zanima“. No, je li baš tako? The Ladislav Šošteriæ's painting is a marvelous confluence of elements of the metaphysical, magical and surreal. Nurtured on and closely associated with figuration, its realistic quality plays with the intriguing, constantly shifting and blurry boundary between dream and the real world, between the present and the past, conscious and subconscious, the actual and the apparent. Nonetheless, the motifs are classic — at first glance they seem real: views, still lifes and landscapes. But then ambients and mythological scenes appear, and everything turns to fantasy, shifting from the area of logic and reality to the area of the alogical and unreal. Scenes open before the beholder such as those on stage in a 52

Ladislav Šošteriæ, iz ciklusa „RUŽA VJETROVA“, ulje na platnu / from the cycle „WIND ROSE“, oil on canvas 53

theater, with some of the mysticism of space and the slowness of time. Time, whose rhythm is set differently, so that the clock of the inner life ticks slowly and with melancholy, in silence. Although everything seems tangible and recognizable at first glance — everything is somehow different. Everything is dreamy and magical because it is seen from another, “shifted” angle and seen with a perception that is far from reality. With a perception of poetic surrealism and magical realism, that transforms the seen and experienced into the unreal. Šošteriæ's paintings are enchanting. Reality has been invited into them but illusion also inhabits them. In these paintings, the reality is ostensibly reflected which surrounds the author — but only ostensibly, because they are an expression of his inner life and emotions. Therefore, in his paintings Šošteriæ builds spaces and counts time according to rules known only to him, and combines and interprets elements of the visible world in his own way. It is almost customary that some details always “disturb” the logic of the events in his work, so the meaning is skewed and layered with allusions, symbolism and associations. When speaking about detail, Šošteriæ's exceptional mastery of his craft and his striving to achieve workmanlike perfection should be emphasized here, in which the whole and all its smallest details are of equal importance to him. He constructs his paintings in such a way that he carefully and minutely develops each detail, painting with refined, subdued, darkened tonal harmonies. Therefore, his hand is disciplined, the composition strictly articulated and the implementation artistically purified and cultivated to the maximum extent. Art criticism has long noted that the “ancestry of Šošteriæ's art should be sought in his surroundings (a type of blending with the region) and in his great love of the old masters,” who have been a great inspiration to him throughout his life. The importance that he affords each stage of his painting and every detail: the careful selection of motifs, their careful elaboration, the deliberate selection of the tones of color, as well as the effects of light on them, have long been recognized. To Šošteriæ, what he is painting is important— and how he is painting. What is not important to him is whether his classically polished artistic language seems archaic to someone or not. He has persistently maintained his approach and expression all his life, creating painting today in the intimacy of his atelier which has completely moved away from all the avant-garde currents, eternally submerged in his chiaroscuro, his muted tones, his illusionary spatial penetrations and his poetic-fantastic stories. He is not overly concerned with whether he is “trendy” or not. He says of himself that what he paints is no longer modern and critics are not interested in it. However, is it really that way?

15.07. – 29.07.2008. NENAD VORIH „Gigagrad“ / “Giga-city” slike, akril na platnu / paintings, acrylic on canvas Nenad Vorih roðen je 1963. u Zagrebu. Strast prema slikarstvu otkrio je veæ u ranoj mladosti i otad je intenzivno razvijao svoj talent. Akademiju likovnih umjetnosti u Zagrebu upisao je 1983, diplomiravši 1987. slikarstvo, u klasi prof. Ferdinanda Kulmera. Godine 1988. primljen je u Hrvatsko društvo likovnih umjetnika, a iste godine i u Hrvatsku zajednicu samostalnih umjetnika, ostvarivši tako status samostalnog umjetnika. Izlaže na skupnim izložbama od 1987, a samostalne prireðuje od 1988. (prva samostalna izložba organizirana mu je u Galeriji Nova u Zagrebu). Otad, u ovih 20 godina javnoga umjetnièkoga djelovanja, priredio je više od 50 samostalnih izložaba u Hrvatskoj i u inozemstvu (Njemaèka, Slovenija, Nizozemska, Slovaèka, Èeška, Bosna i Hercegovina), te sudjelovao na brojnim skupnim, poèevši od rijeèkoga i zagrebaèkoga Salona mladih, pa sve do velikih tematskih izložaba našega vremena. Godine 1991. dobio je nagradu Grisia, a 1993. uvršten je u Enciklopediju hrvatske umjetnosti. Iste godine bio je na studijskome putovanju po SAD-u i otad nastaju njegovi gradovi – megalopolisi. Godine 1995. primio je nagradu Porin, a 2000. uvršten je u katalog „Kunstwerk“ – godišnje izdanje moderne likovne umjetnosti u Njemaèkoj. Inspiraciju za svoju umjetnost Vorih nalazi u mas-medijima i digitalnim medijima, te u njihovu utjecaju na estetiku, na kulturu i na percepciju modernoga èovjeka. Pritom je jedna od njegovih najveæih tema ostala do danas – GRAD, kojega je prezentirao kroz nekoliko ciklusa („Urban Story“, „Metropolis“, „Opera Urbana“). Pritom je cijelo vrijeme vjeran svojoj najveæoj strasti - boji, koja je uvijek ekspresivna, dinamièna i puna energije. O Vorihu su pisali brojni poznati likovni kritièari - primjerice Zdenko Rus, Zvonko Makoviæ, Mladen Luèiæ, Josip Škunca, Berislav Valušek i Igor Zabel. Autor živi i djeluje u Zagrebu. Nenad Vorih was born in 1963 in Zagreb. He discovered his passion for painting as a child and since then he has intensively developed his talent. He enrolled at the Academy of Arts in Zagreb, graduating in 1987 in painting under Prof. Ferdinand Kulmer. In 1988, he was accepted into the Croatian Freelance Artists´Association and the Croatian Association of Artists, gaining the status of independent artist. He has participated in group exhibits since 1987, and has held solo exhibits since 1988 (his first solo exhibit was organized in the Nova Gallery in Zagreb). Over his 20 year career, he has held over 50 solo exhibits in Croatia and internationally (Germany, Slovenia, The Netherlands, Slovakia, the Czech Republic, and Bosnia and Herzegovina), and has participated in numerous group exhibits, beginning with the Youth Salon in Rijeka and Zagreb, all the way to large themed exhibits which mark our time. In 1991, he received the Grisia Award, and in 1993, he was included in the Encyclopaedia of Croatian Art. 55

Nenad Vorih, „MASTER OF DISASTER“, 2008, akrilik na platnu / „MASTER OF DISASTER, 2008, acrylic on canvas 56

The same year, he went on a study visit to the United States and since then his cities (megalopolis) have been created. In 1995, he received a Porin Award, and in 2000, he was included in the Kunstwerk catalogue – an annual edition of modern art in Germany. Vorih finds inspiration for his art in mass media and digital media, and their influence on aesthetics, culture and the perception of modern man. One of his greatest topics still remains THE CITY, which he presented through several exhibits (Urban Story, Metropolis, and Urban Opera). He has been faithful to his greatest passion for the entire time – colour, which is always expressive, dynamic and full of energy. Many well known art critics have wrote about Vorih – for example, Zdenko Rus, Zvonko Makoviæ, Mladen Luèiæ, Josip Škunca, Berislav Valušek and Igor Zabel. The artist lives and works in Zagreb. Adresa i kontakt / Address and contact information: Gunduliæeva 37/II, 10000 Zagreb tel: ++ 385 (0) 48 56 184 GSM: ++ 385 (0)98 61 59 63 e-mail: mynameisvorih@inet.hr web: www.mynameisvorih.hr; www.BigArt.de; www.galerie-schriever.de Temeljni motiv Vorihova slikarstva je grad. Ali ne bilo koji grad, nego grad današnjice. Moderni, višemilijunski velegrad, pun boja, zvukova i svjetla. Grad vrtoglave brzine i paklene dinamike, gdje sve blješti i sve se opasnim tempom kreæe. Grad – megalopolis, koji je danas zona tehnološki sofisticirane civilizacije: modernih tehnologija i komunikacija, te novih medija. Grad mega-razmjera, gigantskih velièina i suvremenoga protoka informacija koje se mjere „gigabitima“. U svakom pogledu –„Gigagrad“. Takvim gradom kao slikarskim motivom Vorih je bio inspiriran još za svoga studijskoga boravka u SAD-u, da bi onda tome motivu ostao vjeran sve do današnjih dana, razraðivao ga i varirao u nebrojenim vizualnim varijantama, ali uvijek s težištem na njegovoj snažnoj ekspresionistièkoj koloristièkoj interpretaciji. Interpretaciji koja, premda izvedena klasiènim slikarskim naèinom i slikarskim pristupom, uvelike podsjeæa (i namjera joj je da podsjeæa!) na izvedbu suvremenim digitalnim medijima današnjice. Vorihovi motivi mega-gradova vjerojatno su u poèetku nastajali prema „živome“ predlošku, da bi kasnije, namjerno, iz sasvim posebnoga razloga, predložak bila fotografija. Jer provlaæenje zbilje kroz medij fotografije omoguæuje postizanje upravo onakvoga njezinoga dojma kakvoga danas donose djela suvremene umjetnosti: dojma „replike veæ replicirane zbilje i time vizualne simulacija dogaðanja“. Odnosno dojma „redizajnirane“ zbilje, kakva se u naše vrijeme išèitava i nudi posredstvom svijeta medija i svijeta globalne vizualne kulture, te posredstvom znanstveno-tehnologijskih sustava informacija i komunikacija. Slike koje na taj naèin nastaju, sazdane su od stvarnoga – ali i od nestvarnoga. Od viðenoga – 57

Nenad Vorih, „MIDNIGHT QUEEN“, 2008, akrilik na platnu / „MIDNIGHT QUEEN“, 2008, acrylic on canvas 58

ali i od imaginarnoga i percepcijski preraðenoga, oblikujuæi u konaènici neku novu, digitalnu zbilju. Medijsku zbilju. Zbilju koja je u novoj umjetnosti jedan novi model realnosti. Zbilju koja je hiperrealna – ali baš zbog toga iluzivna; koja je generirana, kako bismo analitièki, novim pogledom, shvatili svijet oko sebe. Ali zbilju u kojoj su, upravo zbog novih medija, mnoga dosadašnja percepcijska iskustva potrta, osobito ona prostorno-vremenska: prostorne udaljenosti su skraæene, a vrijeme je ubrzano. Vorihov pristup temi velegrada je slièan onome koji pružaju nove, digitalne tehnologije, pa mu slike nalièe onima koje gledamo na blještavim monitorima suvremenih aparatura. Ipak, u izvedbi on nikada ne odustaje od slikarstva èistih likovnih vrijednosti; od slikarstva boje i slikarstva geste. Od isticanja svojega profinjenoga izražavanja bojom i materijom; formom i strukturom. I premda je u njega prvotni mimezis doživio medijsku transformaciju, te preformulaciju i transpoziciju motiva u smislu njegove simbiotike viðenoga i virtualnoga, realnoga i medijskoga, predmetnost Vorihovih gradova plijeni discipliniranošæu „programirano“ slikarskoga sustava, u kojemu vlada geometrijska strukturalnost kompozicije, tlocrtno vizualizirana „urbana organizacija arhitekture“, pogledi „iz posebnoga rakursa“ (odozgo) i monumentalnost forme, ali ponajviše snažna, elementarna boja i iz nje isijavajuæa svjetlost, što sve cijeli prizor grada pretvara u snažno vibrantnu optièku senzaciju. Vorihova umjetnost od samih svojih poèetaka promatra se u urbanome kontekstu i u kontekstu problematike suvremene tehno-civilizacije. Uz to, ona emanira i jednu misaonost i ekspresivnost novoga doba, jer je nastala u duhu suvremenoga kolorizma, koji progovara kroz perceptivno digitalni, ali bojom islikani raster. Tako, premda Vorihovi „Gigagradovi“ na prvi pogled lièe na cyber-gradove, jer daju dojam kao da su nastali kompjutorskom tehnologijom i kao da virtualno svjetlucaju svojim sjajnim giga-pikselima, to je tek Vorihova mala percepcijska „varka“ i samo dokaz da je pred nama izvrstan slikar i vrstan poznavatelj slikarskoga metjea. Jer njegovi „Gigagradovi“ proizvod su njegove ruke, precizne i lake (a ne tehnologije) i viðeni su njegovim profesionalnim slikarskim okom,osjetljivim na razaznavanje sjajnih pikturalnih suglasja (a nisu generirani u kompjutoru). Zato u njima i pronalazimo to èudesno i jedinstveno vizualno bogatstvo. The basic motif of Nenad Vorih's painting is the city, not any city but the city of today, a modern metropolis with several million inhabitants, full of colors, sounds and lights, a city of dizzying speed and infernal dynamics, where everything glitters and everything moves at a dangerous tempo. The city — megalopolis, which is today the zone of technologically sophisticated civilization: modern technologies and communications, and new media. The city of mega-dimensions, gigantic size and modern information flow that is measured in gigabits. In every way, — a “Gigacity.” Vorih was inspired by such a city as a motif when he was in the United States on a study visit, and since then has been faithful to this motif up to the present, developing it and varying it in innumerable visual variants, but always emphasizing powerful, expressive, coloristic interpretation. An interpretation that, although implemented using the classical manner of painting and approach, is greatly reminiscent (and intends to be reminiscent!) of the renditions of the digital media of today. 59

Vorih's motifs of mega-cities were probably initially based on a “live” model, but later, intentionally, for a particular reason, the model was seen through a photograph. Conveying reality through the medium of photography makes it possible to achieve the impression created by works of contemporary art: the impression of “replicas of already replicated reality and thereby the visual simulation of events,” i.e. the impression of “redesigned reality,” as perceived in our time, offered via the world of media and the world of global visual culture, and by means of scientifictechnological systems of information and communication. The paintings which originate in this way are constructed of the real — but also of the unreal. From the seen — but also from the imaginary and perceptually processed, ultimately forming a new digital reality, media reality. A reality that is one of the new models of reality in new art. A reality that is hyperrealistic — but is precisely, therefore, illusive; which is generated, in order for us to understand the world around us analytically, from a new viewpoint. However, this is a reality in which many perceptual experiences have been negated, actually because of the new media, particularly the spatial-temporal category, so spatial distances have been shortened and time has been accelerated. Vorih's approach to the theme of the metropolis is similar to that which is offered by new digital technologies, so his paintings resemble those that we see on the glaring monitors of modern devices. Nonetheless, he never abandons pure artistic values in their execution, the painter's colors and painter's gestures, emphasizing his refined expressivity with color and material; form and structure. Although he experienced transformation of media in his primary mimesis and the preformulation and transposition of motifs in the sense of his symbiosis of the seen and the virtual, the real and the media, Vorih's cities capture attention through the discipline of a “programmed” painting system, in which the geometric structurality of the composition, blueprint of the visualized “urban organization of architecture,” views “from a particular vantage point” (from above) and the monumentality of form, and most of all the powerful, elementary color from which light shines prevail, all of which transform the entire cityscape into a powerful vibrant optical sensation. Vorih's art from its very beginnings is viewed in an urban context and in the context of the issues of contemporary techno-civilization. Moreover, it emanates the thoughtfulness and expressiveness of a new age, because it has occurred in the spirit of contemporary colorism, which speaks through a perceptual digital raster that is depicted in paint. Although at first glance Vorih's “Gigacities” resemble cyber-cities, because they give the impression that they were generated by computer technology and seem to be virtually glittering through their shiny giga-pixels, this is merely the little perceptual “deception” of an excellent painter who knows his métier. Because his “Gigacities” are the product of his hand, precise and light (and not technology), they are seen through his professional painter's eye, sensitive to the perceived brilliant pictorial harmony (and not generated by computer). Therefore, we find miraculous and unique visual riches in them.

30.07. – 14.08.2008. MILJENKA ŠEPIÆ „Gaia“ slike, akril na platnu / paintings, acrylic on canvas Miljenka Šepiæ roðena je 1955. u Opatiji. Diplomirala je 1979. na Pedagoškoj akademiji u Rijeci, na Odjelu likovne umjetnosti, a zatim 1985. slikarstvo na Accademia di Belle Arti u Veneciji, u klasi prof. Carmela Zottija. Godine 1987/88. bila je gost na Staatliche Akademie der Bildender Künste u Stuttgartu. Izlaže od 1985. i do sada je priredila èetrdesetak samostalnih izložaba u Hrvatskoj i u inozemstvu (Italija, Njemaèka, Slovenija, Francuska – Paris, Španjolska), dok je istodobno sudjelovala na više od 300 skupnih - nacionalnih i meðunarodnih. Dobitnica je brojnih meðunarodnih nagrada za slikarstvo. Ima status samostalne umjetnice. Èlanica je HDLU Rijeke, HDLU Zagreba i Hrvatske zajednice samostalnih umjetnika. Živi u Opatiji. Miljenka Šepiæ was born in Opatija in 1955. She graduated in 1979 from the Teaching Academy in Rijeka, in the Art Department, and then she completed a degree in Painting in 1985 from the Accademia di Belle Arti in Venice, under Professor Carmelo Zotti. In 1987/88, she was a guest at the Staatliche Akademie der Bildender Künste in Stuttgart. She has held exhibits since 1985 with forty solo exhibits in Croatia and internationally (Italy, Germany, Slovenia, France and Spain). She has also participated in over 300 group exhibits nationally and internationally. She has received many international awards for painting. She works in the status of an independent artist. She is a member of the Croatian Association of Artists of Rijeka and Zagreb, as well as of the Croatian Freelance Artists´Association. She lives in Opatija. Adresa I kontakt / Address and contact information: stan / home: E.Kumièiæa 6, 51410 Opatija atelijer / atelier: Put Luskino 12, 51211 Matulji tel: ++385 (0)51 27 14 43 GSM: ++385 (0)91 571 41 54 e-mail: miljenka.sepic@ri.t-com.hr

„Gaia“ (odn. Gaea, ili Geja) u starogrèkoj je mitologiji božica zemlje. Miljenka Šepiæ slika ciklus „Gaia“ veæ dugi niz godina, gotovo jedno desetljeæe (od 2000. godine), želeæi simbolikom samoga naziva ciklusa naglasiti svoju povezanost s prirodom i njezina èetiri elementa – osobito s elementom zemlje. Ali nisu joj manje važni niti oni ostali: zrak, voda i vatra. Zato ona najbolje stvara u bliskom kontaktu s prirodom, daleko izvan urbanoga centra, u tišini i u intimi svoga slikarskoga atelijera na obroncima Uèke. Slika u plain airu, na livadi, u dodiru sa zemljom, vodom i zrakom, sa sunèevim svjetlom i njegovom energijom, s travama i cvijeæem, u ritmu života prirode, pa se sve to na njezinim slikama – nekad gledano iz mikro, a nekad iz makro perspektive, miješa u èudesni koloristièki kaleidoskop koji jednom uznemireno titra, a drugi put èovjeka ispunja blagotvornim, gotovo meditativnim mirom. Slikarstvo Miljenke Šepiæ slikarstvo je èistih likovnih vrijednosti, izraslo na vrijednostima poetskoga intimizma, ekspresionizma i lirske apstrakcije. Ona misli i radi slikarski i pritom je strastveni kolorist. Ostala je, meðutim, uvijek vjerna klasiènome pristupu svome mediju, u kojem je važno platno, u kojem je važan kist i u kojem je važna boja, bez obzira što je impresije skupljala iz prirode na zaèudno neposredan naèin: postavljanjem platna na samo tlo i s toga tla „upijajuæi“ vibracije, a onda „pobiruæi“ i u svoju sliku prenoseæi sva okolna osvjetljenja i sjene, sve titrave boje i sav prizemni život mikro-svijeta. Premda se na prvi pogled èini da pomaka u njezinu slikarstvu, osobito u ovome ciklusu, veæ godinama nema, te da se stvaralaèki kontinuitet dogaða unutar veæ poznatoga i iznaðenoga, postoji tu ipak promišljena evolucija stila, koja nije glasna i naprasna, nego profinjena, lagano stupnjevana i unutar sebe logièna. Jer ona stalno iznova zapodijeva novi dijalog s bojom i s bjelinom slikarske podloge, seleæi na nju dio prirode oko sebe. Seleæi na nju energiju zemlje, eteriènost zraka i udaljenu mirnoæu široke morske vode, te množeæi na platnu koloristièko vizualno obilje. Mjesto njezinoga stvaranja je zato poput nekoga posveæenoga mjesta – prostor mira i kontemplacije, gdje prije svega razgovara s prirodom. Tu se i relaksira i kreativno aktivira, hvata vibracije i potièe èula, a onda sve pretaèe na svojim slikama u èudesnu vizualnu sintezu. U njezinim najnovijim radovima motiv se izgubio I išcitava se tek kao koloristicki znak i idiom, te kao ritam i energija. U radovima prezentiranim na ovoj izložbi motiv je još, meðutim, itekako prisutan. Štoviše, islikan je krajnjom, gotovo slikarsko-kaligrafskom preciznošæu, koja otkriva Miljenkin tankoæutni senzibilitet za preciznost poteza i za njegovu kontrolu, što u konaènici rezultira zanimljivom simbiozom disciplinirane i sigurne ruke, profesionalnoga oka i profinjenoga poteza, ali i neke zaèudne poetike i slobode izrièaja, te svojevrsne meditativne mirnoæe. Njezine slike, u razlièitim fazama, imale su (i ponešto od svega toga do danas zadržale) i onu impulsivnu i onu analitièku; i onu instinktivnu i onu meditativnu dimenziju. Ovdje prevladava ono drugo. Priroda se percipira iz blizine, a pogled fokusira na mikro-prostorne odnose, na travke u svojoj pojedinaènoj pojavnosti, ili na cvjetove u kojih se istièe svaka latica. Kao da je maksimalno istaknuta zbilja. Ali nije! Jer upravo nas taj povratak detalju i uvjetno reèeno veæoj realnosti udaljava od nje i približava neèemu što naše oko u velikoj prirodi rijetko razaznaje, a kad se ono precizno i promišljeno komponira i iscrta, kao što je to sluèaj u Miljenkinu slikarstvu, onda to postaje odraz funkcioniranja misli, uma i jedne filozofije odnosa prema prirodi i životu uopæe. Filozofije koja se temelji na miru, tišini, disciplini i preciznosti, koja u slikarstvu stvara zacudno 62

Miljenka Šepiæ, iz ciklusa „LIVADA“ (1), 2007, akrilik na platnu / from the cycle „MEADOW“ (1), 2007, acrylic on canvas 63

kreativnu i poeticnu igru. Ne možemo, najposlije, ne prisjetiti se, gledajuæi ove radove, rijeèi Andreasa Schenka, kaligrafa:“ Mir toga posla ispunjava cijelo biæe potpunim zadovoljstvom, u kojem nas vrijeme i prostor, kao obrisi, uopæe ne brinu i ne optereæuju.“ In ancient Greek mythology, Gaia is the goddess of the earth. Miljenka Šepiæ has been working on the cycle “Gaia” for many years, nearly a decade (since 2000), emphasizing her affinity with nature and its four elements, particularly the element earth through the symbolism of the name. However, the other elements, i.e. air, water and fire, are of no less importance to her. Therefore, she does her best work away from urban centers, in close contact with nature, in silence and in the intimacy of her atelier on the slopes of Mt. Uèka. She paints in the open air, on meadows, in contact with the earth, water and air, with sunlight and its energy, with grasses and flowers, in the rhythm of the life of nature, all of which is to be found in her paintings — sometimes from a micro perspective and sometimes from a macro perspective, mixed in a miraculous coloristic kaleidoscope that at one moment pulsates restlessly and at the next moment fills one with a soothing, nearly meditative peace. The painting of Miljenka Šepiæ exemplifies pure artistic values, based upon the values of poetic intimacy, expressionism and lyrical abstraction. She thinks and works as a painter and, moreover, is a passionate colorist. Nonetheless, she has remained ever faithful to the classical approach to her medium, in which the canvas is important, in which the brush is important and in which the paint is important, regardless of the impressions collected from nature in a surprisingly direct manner: placing the canvas on the ground, “imbibing” the vibrations from the soil and then “gathering” all the surrounding illumination and shadows, all the vibrant colors and all the life of the ground-level micro-world in her painting. Although at first glance it seems that there has been no shift in her painting for years, particularly in this cycle, and that the creative continuity is occurring within that which is already known and has already been found, here there is nevertheless a deliberate evolution of style, which is not loud or sudden but refined, gradual and logical in itself. She repeatedly commands a new dialogue with color and with the white canvas, conveying to it a part of the nature around her, conveying to it the energy of the earth, the ethereality of the air and the distant calm of the wide sea, multiplying the coloristic visual abundance on the canvas. The place of her creation is, therefore, like a consecrated place — a place of peace and contemplation, where, most of all, she commands dialogue with nature. She relaxes here and is activated creatively, catches vibrations and stimulates the senses, pouring them into her paintings in a miraculous visual synthesis. In her most recent works, the motif is lost and only read as a coloristic sign and idiom, as an emanating rhythm and energy. In the works presented at this exhibition, the motif is still, however, definitely present. Moreover, it is painted with extreme, nearly calligraphic precision, revealing Milenka's delicate sensibility for the precision and control, ultimately resulting in an interesting symbiosis of a disciplined and sure hand, professional eye and refined stroke, but also amazing poetics and freedom of expression, a type of meditative calm. In various phases, her paintings 64

Miljenka Šepiæ, iz ciklusa „LIVADA“ (2), 2007, akrilik na platnu / from the cycle „MEADOW“ (2), 2007, acrylic on canvas 65

have had an impulsive and analytical and instinctive and meditative dimension, some of which is still evident. In the works prepared for this exhibition, the meditative dimension has prevailed. Nature is perceived from up close, and the view is focused on the micro-spatial relations — on the individual blades of grass but also on blossoms, in which each petal is emphasized, as if the reality is maximally emphasized. But it isn’t! For us, this return to detail is actually, conditionally speaking, a greater reality, moving away from it and approaching something which our eye rarely perceives in nature. When it is precisely and deliberately composed and drawn, as in Miljenka's painting, it becomes an expression of the functioning of thought and intellect, and a philosophy of our relation to nature and life in general, a philosophy grounded in calm, quiet, discipline and precision, creating a surprising creative and poetic play in the painting. Contemplating these works, we are reminded of the words of the calligrapher Andreas Schenk: The tranquility of this work fills the whole being with complete satisfaction, in which time, space and contours do not concern or encumber us at all.“

17.08. – 31.08.2008. ALEN ŠIMOKOVIÆ „Metamorfoze“ / “Metamorphoses” fotografije, objekti, instalacije / photography, objects, installations Alen Šimokoviæ roðen je 1968. u Rijeci, gdje se i školovao. Tijekom studija graðevine poèeo se intenzivnije zanimati za likovni izraz, a od 1991. i izlagati. Prvi put izlaže s grupom autora u Malom salonu u Rijeci. Samostalno izlaže od 1996. i do sad je održao nekoliko izložaba u Rijeci i Bakru. Godine 2005. izradio je tridesetak slika po motivima fra Ambrozija Testena za potrebe snimanja igranog filma “Povijest gospoðe za prije”, redatelja Miroslava Sikavice. Nekoliko puta je nagraðivan za svoj rad: na “Mandraæu” u Voloskom godine 2000. (za slikarstvo), 2001.(za slikarstvo) i 2007. (za fotografiju). Na “Ex tempore” u Grožnjanu 2002. (otkupna nagrada), na “Ex tempore” u Vodnjanu 2007. (za slikarstvo), te najposlije, iste godine, na Veloj umjetnièkoj radionici u Kastvu (kao pobjednik u kategoriji fotografije i kao ukupni pobjednik). Alen Šimokoviæ živi i djeluje u Rijeci. Alen Šimokoviæ was born in Rijeka in 1968, where he attended school. During his studies in the field of civil engineering, he intensively began to gain interest for artistic expression, and in 1991, he began to exhibit his work. His first exhibit was with a group of artists in Rijeka's Mali Salon. He has held solo exhibits since 1996, including several exhibits in Rijeka and Bakar. In 2005, he completed thirty paintings with the motif of Father Ambrozi Testen for the filming requirements for the movie “Povijest gospoðe za prije” (History of the Lady for the past), directed by Miroslav Sikavica. 66

Alen Šimokoviæ, „RELIKVIJA“, 2007, instalacija, detalj / „RELIC“, 2007, part of the installation 67

He has been awarded for his work several times: for the “Mandraæ” competition in Volosko in 2000 (painting), in 2001 (painting), and in 2007 (photography). He also received awards at the “Ex tempore” competition in Grožnjan in 2002 (redemption reward), at the “Ex tempore” in Vodnjan in 2007 (painting), and finally in 2007 at the Large Art Workshop in Kastav (as winner in the category of photography and the overall winner). Alen Šimokoviæ lives and works in Rijeka. Adresa i kontakt / Address and contact information: atelijer / atelier: Braæe Stipèiæa 7, 51000 Rijeka tel. ++385 (0)51 412 284 GSM: ++ 385 (0) 91 56 38 563 Uoèavati u starim, istrošenim, vremenom izblijedjelim, odbaèenim i sluèajno pronaðenim predmetima znaèenjsku višeslojnost i svevremensku likovnu vrijednost, te uhvatiti u nekom posebnom trenutku „okom“ fotoaparata „slikovnost“ i „slikovitost“ detalja takvih predmeta – ili te predmete, naizgled amorfne, zajednièki posložiti u novi objekt, pa ih time preseliti u èudesni svijet metamorfoza, znaèi imati dar ne samo za vizualno uoèavanje i uoblièavanje, nego ponajprije za kulturu likovnoga razmišljanja. Onu koju, unatoè tome što mu to nije primarna profesija, veæ niz godina njeguje i nagradama potvrðuje Alem Šimokoviæ. A on stalno, veæ izvježbanim okom, svugdje oko sebe vidi na ovaj naèin vizualno iskoristive slike. Vidi ih na pohabanim i oronulim zidovima, na „ruzinavim“ brodovima, na fasadama koje su devastirane grafitima i rastrganim plakatima. Svugdje uoèava i odabire za svoje nove radove/objekte dijelove kojekakvoga metalnoga otpada, odbaèene stare daske i dijelove nekakvoga namještaja, te tko zna kad morem dospjele naplavine, nalazeæi u njima prije svega vizualno obilje - neki poseban kolorit, neobiène površinske strukture, bogatstvo forme. Ali osjeæajuæi u njima i znaèenjsko obilje, zakopano u dubokim sedimentima tih predmeta, gdje još tinjaju tragovi uspomena i sjeæanja. Slažuæi takve predmete u nova zajedništva, on im „udahnjuje novu dušu“. I daje im novu vremensku i znaèenjsku dimenziju; vremensku i znaèenjsku protežnost, što znaèi novo fizièko i duhovno trajanje – od prošlosti, kroz sadašnjost, prema buduænosti. Upravo zbog ovih svojih uslojenih prostornih, vremenskih i znaèenjskih kategorija i njihova miješanja, Šimokoviæev likovni svijet na granici je stvarnosti i imaginacije; opipljivosti i iluzivnosti. Njegova novostvorena oblikovna sjedinjenja èesto su snovite fantazmagorije, u kojima se vrijeme drukèije išèitava, u kojima se prožimlju poetika i simbolika i u kojima se isprepliæu stvarnost i imaginacija. Autor je tu u stalno aktivnoj, višestruko kreativnoj ulozi: ulozi znatiželjnoga tražitelja, inspiriranoga fotografa, marnoga skupljaèa, maštovitoga konstruktora, zaigranoga sanjara i zanesenoga likovnoga pripovjedaèa, koji suèeljava i spaja pronaðeno i stvoreno; svakodnevicu i viziju, oblikujuæi ih u vizualno sugestivnu simbiozu i u taktilnu likovnu metamorfozu. Jednom sažetu i simbolièku, drugi put razigranu i prièljivu; jednom naglašeno koloristièku, a drugi put oblikovno asocijativnu. 68

Alen Šimokoviæ, „RELIKVIJA, 2007, instalacija / „RELIC“, 2007, installation 69

Šimokoviæ voli bogat metaforièki i oblikovni potencijal predmeta koje pronalazi i koje združuje, jer tako može odaslati poruku koja je vizualno gusta i koja je znaèenjski koncentrirana. Materijali „razlièite dobi“, njihovo porijeklo i sastav, pritom su mu uvijek izazov, buduæi da sve to njegov vizualni svijet može uèiniti posebnim i drukèijim, nerijetko nalik svijetu magijskih moæi, znakova i simbola; znamena i relikvija. Ispremiješane zbilje i drukèije prostorno-vremenske dimenzije smještaju njegov svijet i u onaj fantazija i prièa. Ipak, valja istaknuti da se tu ponajprije radi o svijetu vizualnih istraživanja, koja se u ovoga autora naslanjaju na mnoga iskustva slikarstva i kiparstva iz velikih razdoblja moderne umjetnosti. Može se to išèitati na njegovim fotografijama, na kojima ima elemenata lirske apstrakcije i enformela, dok se u Šimokoviæevim prostornim instalacijama pronalazi mnogo od iskustava asamblaža i object trouvé-a. U oba sluèaja zbilja i iluzija se dodiruju – èak preklapaju, motiv „hoda rubom dodira“ naracije i asocijacije, a našoj percepciji stalno izmièe èvrsto uporište. I baš zato tu uvijek vlada jedan poseban ugoðaj, koji obiluje i poetiènošæu i misaonošæu; ekspresivnošæu i sintetiènošæu. Ugoðaj gdje se osjeæa svevremenost – ali i suvremenost, jer je likovna poruka, premda pokrenuta možda u nekim dalekim vremenima, suvremenom percepcijom prevedena u jezik današnjice. To discern multiple layers of significance and contemporary artistic value in objects that are old, worn out, faded with time, discarded and found by chance, and to capture the details of such objects with the “eye” of the camera — or to arrange such ostensibly amorphic objects together into a new object and thereby move them into a miraculous world of metamorphoses, means to have a gift not only for visual perception and shaping but, in the first place, for the culture of artistic thought, which Alem Šimokoviæ has cultivated for many years and received recognition and awards, despite the fact that this is not his primary profession. He constantly sees visually usable pictures everywhere in his surroundings, with a practiced eye. He sees them in worn and dilapidated walls, on rusted ships, on facades defaced by graffiti and tattered posters. He notices and chooses parts of all sorts of scrap metal, old discarded boards and furniture for his new works/objects everywhere, and objects that were conveyed by the sea who knows when, finding visual abundance in them — a particular color, unusual surface structures and richness of form but also sensing their symbolic abundance, buried in the depth of the sediments of these objects, where the remains of reminiscence and memories still smolder. Arranging such objects in new associations, he “breaths a new spirit into them” and gives them new temporal and semantic extensibility, which means new physical and spiritual duration — from the past, through the present, toward the future. Precisely due to these multilayered spatial, temporal and semantic categories and the blending thereof, Šimokoviæ's artistic world is at the boundary between reality and imagination, tangibility and illusiveness. His newly created formed unities are frequently dreamy phantasmagorie, in which time is read differently, permeated by poetics and symbols, in which reality and the imagination entwine. The author is constantly playing active, creative roles, i.e. a curious seeker, inspired photographer, industrious collector, imaginative constructor, playful dreamer and an enthusiastic artistic story 70

teller, who confronts and joins the found and the created; the everyday and vision, forming them within a visually suggestive symbioses and tactile artistic metamorphoses, at one moment, symbolic and at another playful and talkative; at one moment markedly coloristic and at another plastically associative. Šimokoviæ loves the rich metaphorical and plastic potential of the objects that he finds and associates, because in this manner he can send a message that is visually intense and symbolically concentrated. Materials of various ages, origins and compositions are always a challenge to him, since all of this can make his visual world special and different, not infrequently resembling the world of magical powers, signs and symbols; omens and relics. A jumble of reality and a different spatial-time dimension place his world in that of fantasy and storytelling. Nevertheless, it should be pointed out that such a world is primarily a world of visual exploration, for which author relies on many experiences of the painting and sculpture from the great periods of modern art. Such experiences can be read in his photographs, in which there are elements of lyrical abstraction and informel, while in Šimokoviæ's spatial installations, there are many experiences of assemblage and found objects. In both cases, reality and illusion touch — even overlap. The motif is somewhere between narration and association, with a shifting focus. It is precisely for this reason that a special atmosphere prevails, which abounds in the poetic and contemplative, the expressive and synthesis. It is an atmosphere where there is a sense of eternity — but also modernity, because the artistic message, although originating from a time in the distant past, is translated through a modern perception into the language of today.

Pokrovitelj / General Sponsor

Poštovani, Kastav, grad utvrðen srednjovjekovnim gradskim bedemom s devet obrambenih kula sazdan je na grebenu 378 metara visokog kraškog brijega i dominira nad ovim djelom Kvarnera. Bogata prošlost, puèki obièaji, stari duh slobode, poštivanje i èuvanje «stareh pravic» i oplemenjen život omoguæili su Kastvu i Kastavcima da u svojoj dugostoljetnoj povijesti budu u središtu svih zbivanja na širokom podruèju Kastavštine, Kvarnerskog primorja i otoka, Istre i južnih dijelova Kranjske. Nema mnogo gradova koji se mogu pohvaliti takvom tradicijom. Davne 1400. godine zapisan je Kastavski statut, prvorazredni povijesni pravni dokument, koji sadržajem nedvosmisleno razotkriva zbilju i stvarnost kastavske komune u razvijenom srednjem vijeku. Godine 1770. osnovana je u Kastvu prva puèka škola, a godine 1866. u Kastvu je poèela s radom Prva hrvatska èitaonica u Istri – Èitalnica. Tijekom XIX. stoljeæa u jeku narodnog preporoda u Kastvu se osniva niz kulturnih institucija i društava koje njeguju hrvatski jezik i nacionalni identitet. Upravo tada utemeljen je amaterski kulturno umjetnièki rad po kojem su Kastav i Kastavština poznati i danas. Kastav cijele godine živi punim životom – održavaju se zanimljive i znaèajne kulturne, ali i gospodarske i sportske manifestacije. U ljetnim mjesecima, zahvaljujuæi festivalu kulture «Kastafsko kulturno leto», Kastav postaje meka mnogobrojnih ljubitelja glazbenih, dramskih, likovnih i drugih kulturnih sadržaja. Od skromnih, ali vrlo uspješnih poèetaka prije 17 godina, «Kastafsko kulturno leto» doživjelo je svoju ekspanziju i Kastvu dalo epitet prepoznatljivog županijskog stjecišta visokokvalitetnih kulturnih zbivanja. Mnoga poznata imena iz gitaristièke elite prodefilirala su Kastvom, veæina njih je po prvi put uopæe došla u Hrvatsku. Upravo «Internacionalni festival gitare» zahvaljujuæi svojoj kvaliteti i raznovrsnosti uèinio je «Kastafsko kulturno leto» prepoznatljivim ne samo na prostorima Hrvatske veæ i na karti svijeta. U okviru ljetnog festivala «Kastavsko kulturno leto» afirmirao se i festival èakavske šansone «Èansonfest». Na tragu bogatog èakavskog pjesnièkog i glazbenog naslijeða i danas djeluju brojni tekstopisci i vrsni glazbenici koji zaslužuju ovakvu manifestaciju kojom uglazbljena èakavština dobiva cjelovitu promociju. Više od 4.000 izvoðaèa iz tridesetak zemalja svijeta i više od 120.000 posjetitelja na dosadašnjim festivalima dokaz su uspješnosti ljetnog festivala «Kastafsko kulturno leto, a raznovrsni i zanimljivi programi ovogodišnjeg festivala pozivnica svim ljubiteljima kulturnih priredbi na nova druženja u Kastvu. Dobro nan prišli va Kastav! Gradonaèelnik: Dean Jurèiæ

Dear Guests, Kastav, a town fortified by Medieval city walls with nine defence towers, was erected on a 378 metre tall karst cliff which dominates over the entire Kvarner region. A rich past, native traditions, the old spirit of freedom, respect and preserving old laws and a noble life have allowed Kastav and its citizens to be in the midst of all events related to Kastavian culture, the Kvarner coast and islands, Istria, and the southern parts of the Kranjska Mountains. There are few towns which can boast such a tradition. Back in 1400, the Kastav Statute was written, a first-rate historical legal document whose contents unambiguously unravel the reality of the Kastav commune in the developed Middle Ages. In 1770, the first Kastav Folk School was established, and in 1866, work began in Kastav on the first Croatian reading room in Istria known as the Èitalnica. During the 19th century, in light of the folk revival, a range of cultural institutions and societies were established in Kastav to nurture the Croatian language and national identity. At that time, amateur cultural and artistic work was established, which set the foundations for the heritage which both Kastav and the Kastav tradition are famous for today. Kastav lives the entire year to its fullest – many interesting and significant cultural as well as economic and sports manifestations are held. In the summer months, thanks to the Kastav Cultural Summer, Kastav becomes a mecca for fans of music, drama, art and other cultural contents. From its humble but very successful beginning 17 years ago, the Kastav Cultural Summer has experienced its expansion and Kastav has been given an epithet as a recognizable County confluence of high quality cultural events. Many famous names from the guitar elite have performed in Kastav, and quite often many of them visited Croatia for the first time. The International Guitar Festival, due to its quality and diversity, actually made the Kastav Cultural Summer recognizable, not only throughout Croatia but also internationally. The Chakavian Èansonfest festival of chansons affirmed itself through the Kastav Cultural Summer manifestation. Many composers and competent musicians' search for rich Chakavian prose and musical heritage even today, and they deserve such a manifestation whereby Chakavian music receives its greatest promotion. More than 4,000 performers from thirty different countries and over 120,000 visitors to the previous festivals are proof of the success of the Kastav Cultural Summer festival, while the diverse and interesting program of this year's festival is an invitation to all fans of cultural manifestations to gather once again in Kastav. Welcome to Kastav! Dean Jurèiæ Mayor 74

Sufinanciranje programa / Programme co-financed by

Sponzori / Sponsors

porsche

visual & process communications www.arts.hr

Medijski pokrovitelji / Media sponsors

Donatori / Patrons

KASTAFSKO KULTURNO LETO THE KASTAV SUMMER OF CULTURE

impressum: Udruga "Kastafsko kulturno leto" Kastav Stari put 1, 51215 Kastav www.kkl.hr e-mail:kkl@kkl.hr kontakt: +385 51 691 610 Predsjednik / President: Ivica Lukanoviæ Izvršna direktorica / Executive manager: Ines Greblo Urednica / Editor: Ines Greblo Vizualni koncept / visual concept: Sergej Buliæ Oblikovanje / Design: ART'S design&concepts Prevod / Translation: Prevoditeljski centa, Zagrebr Tisak / Print: Multigraf, Zagreb Naklada / edition: 1000 Kastav, svibanj 2008.

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